sincerelie (
sincerelie) wrote2019-09-11 10:20 pm
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You Know you should be glad.............
So first and foremost the most crucial most vital thing to know and note here is that she love you is the Only L/Mc song that is written as a conversation and advice rather than a story with a narrative. as far as I'm aware its the only song out of all 300 whatever amount of songs they wrote together that's directly saying, yknow, this is a love song but it isn't about the singer and an ambiguous girl for a fan to project upon; it's written in a way that's the singer speaking to a third party, to someone who made a mistake and is being given a chance to fix everything. so that freak anomaly already knocking this into being an bizarre one-off
but i can't not think about like . john knowingly going to gay cinema clubs and stu knowing most of their fans were girls who came to their cellar shows with their girlfriends and paul saying it's fine if we play our music for german drag queens and then skipping ahead to when they're on the way to being disgustingly famous and finally breaking into real charts with a song where the only explicit pronouns are she/her because of COURSE the 1963 american audiences wouldn't dare assume the third party in the lyrics would be anything besides a man BUT WHAT IF WHAT IF WHAT IF!!!!!! if they aren't writing explicitly about men, that's too obvious, it'd be too easy to give away. but what if we're the first rock and roll group ever to explicitly talk about loving your bandmates in a more than brotherly way. what if we show we're aware of our audiences and who they're closest and most vulnerable with.
because we know john was out as bi in the 70s it's not even remotely out of the realm of possibility i think. for them to be aware of this shit so early on. insert image of those girls tenderly holding each other's faces at a 64 concert with the bitch in the row of them going buckwild. of course people would assume it's a het song and realistically they were still cis dudes in the fucking 60s but really really really what if it's deeper than that. full tinhat and everything. what if leslie feinberg was right this was about lesbianism. what if i'm right and it's about projection being true for once in my life. regardless of intention it was a song that was only references women because that's what the fuck john and paul were seeing at their ridiculous terrible concerts where girls screamed so loud they couldn't hear each other play.
and what about every gay club in england and america that was out here playing please please me on repeat for a year!!!!! because three sweaty handsome well polished well dressed young men crowding their faces together around one single microphone singing to a neutrally described third party about needing to talk to & win their most beloved back, promising that their love isn't something to be ashamed of. ALL THE WHILE these freaks are being managed by an openly gay business man like that isn't the gayest shit on national television and public radio readily available for consumption. what the fuck.
SHE SAYS YOU HURT HER SO SHE ALMOST LOST HER MIND BUT NOW SHE SAYS SHE KNOWS YOU'RE NOT THE HURTING KIND SHE SAYS SHE LOVES YOU AND YOU KNOW THAT CAN'T BE BAD YES SHE LOVES YOU AND YOU KNOW YOU SHOULD BE GLAD YOU KNOW ITS UP TO YOU I THINK IT'S ONLY FAIR PRIDE CAN HURT YOU TOO SO APOLOGIZE TO HER BECAUSE SHE LOVES YOU
FUCK ALL LIFE
but i can't not think about like . john knowingly going to gay cinema clubs and stu knowing most of their fans were girls who came to their cellar shows with their girlfriends and paul saying it's fine if we play our music for german drag queens and then skipping ahead to when they're on the way to being disgustingly famous and finally breaking into real charts with a song where the only explicit pronouns are she/her because of COURSE the 1963 american audiences wouldn't dare assume the third party in the lyrics would be anything besides a man BUT WHAT IF WHAT IF WHAT IF!!!!!! if they aren't writing explicitly about men, that's too obvious, it'd be too easy to give away. but what if we're the first rock and roll group ever to explicitly talk about loving your bandmates in a more than brotherly way. what if we show we're aware of our audiences and who they're closest and most vulnerable with.
because we know john was out as bi in the 70s it's not even remotely out of the realm of possibility i think. for them to be aware of this shit so early on. insert image of those girls tenderly holding each other's faces at a 64 concert with the bitch in the row of them going buckwild. of course people would assume it's a het song and realistically they were still cis dudes in the fucking 60s but really really really what if it's deeper than that. full tinhat and everything. what if leslie feinberg was right this was about lesbianism. what if i'm right and it's about projection being true for once in my life. regardless of intention it was a song that was only references women because that's what the fuck john and paul were seeing at their ridiculous terrible concerts where girls screamed so loud they couldn't hear each other play.
and what about every gay club in england and america that was out here playing please please me on repeat for a year!!!!! because three sweaty handsome well polished well dressed young men crowding their faces together around one single microphone singing to a neutrally described third party about needing to talk to & win their most beloved back, promising that their love isn't something to be ashamed of. ALL THE WHILE these freaks are being managed by an openly gay business man like that isn't the gayest shit on national television and public radio readily available for consumption. what the fuck.
SHE SAYS YOU HURT HER SO SHE ALMOST LOST HER MIND BUT NOW SHE SAYS SHE KNOWS YOU'RE NOT THE HURTING KIND SHE SAYS SHE LOVES YOU AND YOU KNOW THAT CAN'T BE BAD YES SHE LOVES YOU AND YOU KNOW YOU SHOULD BE GLAD YOU KNOW ITS UP TO YOU I THINK IT'S ONLY FAIR PRIDE CAN HURT YOU TOO SO APOLOGIZE TO HER BECAUSE SHE LOVES YOU
FUCK ALL LIFE