JamieWom

What a brilliant day that was!

Surprised they were allowed to tbh

ER

@chelseayouth.bsky.social
When was the last time U18s, Development Squad, Women and Mens team all won on the same weekend?
Feels like it was a long time ago...

Aah clearlake!!
Good stuff

What is it they're singing? Can't quite make it out??

HENRY WINTER: Much More to Next Chelsea Manager Liam Rosenior Than You Might Think HENRY WINTER: Much More to Next Chelsea Manager Liam Rosenior Than You Might Think

“Anyone who knows Rosenior knows he relishes a challenge” - Henry Winter has his say on new Chelsea boss Liam Rosenior.

www.fotmob.com/embed/news/0...

Chelsea board to hold talks with uncertainty over Enzo Maresca’s future The Stamford Bridge club are winless in their past three games and the Italian has come under scrutiny despite being on a contract to 2029.

#CFC board are holding talks today amid uncertainty over Enzo Maresca’s future at the club: www.nytimes.com/athletic/613...

Maresca needs to have a look at their intensity with and without the ball and have a word with himself.
When did we last play with that passion and desire?
Fair play to them, they've been brilliant, men against boys.
We've been disgraceful.

Lucky enough to have seen them several times over the years so shouldn't moan I suppose...

Heard an audiophile say a few years back that Radiohead are always better on digital than vinyl as that's the format it's made for.
Listening to that on vinyl I'd say it's complete bollocks, even taking into account that it's live.
Still gutted to miss out on tickets this year!!

Just finished playing mine for the first time. Wonderful.

A Free Press, Not a Free Pass – It's Time for Fair Regulation For too long, the UK press have bullied people, harassed grieving families, and destroyed lives, all to sell papers. We’ve all seen the heartbreaking consequences. They’ve hacked phones, listened to ...

Did you watch The Hack? I can't believe papers have gotten away with destroying lives for so long. That's why I've signed the petition, set up by Hugh Grant and other phone hacking victims, to demand fair, independent regulation. Join me: you.38degrees.org.uk/petitions/a-...

Great, thank you 👍

Might be a silly question, but how do I access it?
Got WhatsApp but can't find it

When was the last time we performed without Erin? Has to start every game for me.

If you don't love Nigel Farage give this a Like.

If you hate him, give it a RT.

Yeah it was an amazing set at Glastonbury, read that it's by far the best band he's had since crazy horse which didn't surprise me.
I just hope I get another chance to see him at some point.

Was it similar set to his Glasto last week?
Really wanted to see him, but got Stevie Wonder today and couldn't do both 😔

Awake at 6 to find we’re still needing 60 signatures by 0820 to hit our daily #parkypetition100K target - please sign! petition.parliament.uk/petitions/71...

Finally something at Glasto this year I'm really looking forward to.

DW: “Save It For Later” was written before I was even in The Beat, but it was banned by David Steele for being too “rock,” too “old wave.” The record company had liked it all along, but they didn’t have any say in what songs went on the album. With the third record, though, David Steele really wanted a rest. He’d stopped writing hits on the third album—not the major ones, as it turned out. And the record company sort of had a hissy fit and said, “Well, fuck this, we’ve had this for long enough. This song’s been a potential hit for the last three years, and you haven’t written any hits this time out, David.” At the same time, we’d managed to work some financial renegotiation with the label because something had not done as well as we’d thought, and in return, “Save It For Later” went on the record. I never expected it would do so well, though I always liked the song before I was in the group. It’s actually ended up earning about a third of our catalogue’s publishing money, nowadays. Over the last 10 years or so, it counts for a full third of the catalogue. Very odd for a song that nearly never came out at all. It was only really when the record company insisted, and I got a bit of courage and said, “Well, look, if it’s not on our record I’d just rather go and record it myself and bring it out.” At that point David acquiesced.

It started off as a dirty schoolboy joke. The phrase “save it for later” is meant to be “save it,” comma, “fellator.” As in, “Leave it as it is, cocksucker.” [Laughs.] But we didn’t have the term “cocksucker” in England at the time. We didn’t really learn that one ’til we came to America. So it wasn’t really a putdown, because we didn’t really use that term to put down people at the time, and I don’t think they do very much in England now, either. Anyways, that was the nature of the joke. It was a song really about not knowing what to do, because you knew people looked at you as though you were a man, but you knew you didn’t know how to operate in a man’s world. You still were responding to things the same way as you always had as a boy. And it’s a scary thing, really, being scared of all the implications of your life and not knowing what else to do other than to try and bravely march forward into the dark regardless. It’s been hard to describe. People ask, “What’s that song about?” Well, it’s about nothing. It’s about not knowing anything. [Laughs.] Or feeling like you know nothing, and grasping in the dark for your place in the world, and trying to do it with a wry humor. It’s like your legs give way, and every time you try to stand up and pretend to be a man, the boy in you would flip over in front of everybody and you’re embarrassed again, y’know? Particularly I suppose as you try and learn how to deal with girls turning into women. They could say one thing and you’d go bright red, look at the floor and start shuffling around like you just got told off by your teacher at school.

So that’s what the song was about, and I’d written it on a National steel guitar I’d been given, and I was trying to find a tuning to play along to John Martyn’s songs. I very nearly got it. Turns out his tuning was DADGAD, which is a pretty famous old blues and folk tuning, I’m told. But I got it wrong, and I tuned the G string up to an A as well, so I ended up all Ds and As: DADAAD, from the thickest string to the top string. I made up my own chords to go along with that, cause it didn’t quite seem to fit the John Martyn songs. And I came up with the chords for “Save It For Later.” It just sounded so hypnotic. I would play it for hour upon hour on this metal guitar. It would just be ringing, and I’d go a thousand miles away, and all these words and lyrics and images would start to pop into my head. Sometimes I’d just play it for an hour straight, and then stop and try it out with some lyrics. After a long time, people were asking, “What is that thing you keep playing? It’s very catchy, isn’t it?” I was embarrassed they’d even heard it. It was for my ears only, as far as I was concerned at the time. And whilst I was going through it I was trying to think about those things about your transition from youth to manhood. We did try it out the first few times in The Beat’s rehearsals, but David Steele put the end to that, and “End Of The Party” too, which I’d written just immediately prior to The Beat starting. Again it was too “old-wave Dave” for him. And I don’t know how or why, but he always considered he had a veto in the group. I mean, he was quite a bit of a genius as well. [Laughs] But he’d have had trouble sharing the stage with Mozart.

So both of the songs were banned at first, and he even said some horrible things about them in interviews when they came out on the record, which I think was one of the other nails to the coffin for The Beat, really. Of that lineup, anyway. “Save It For Later” never got played until the third album, and then only at the record company’s insistence, and even at that point David Steele still wouldn’t play on the main track. “Oh I’ll do mine as an overdub, I’m not doing a backing track like that.” And he didn’t. Nor did anybody else, really. I knew the drummer would do it, so me and Everett played the song over and over until Bob Sargeant said we’d got a really good take on it, and then the rest of the band reluctantly acquiesced. And now I tease them rotten about the publishing earnings that they get from a song that they loathed. AVC: It was popular enough that Pete Townshend covered it, on a 1986 live album no less. DW: That’s right! Probably one of the greatest honors in my life. I got a phone call at 11 in the morning, and somebody gave me the phone and said, “It’s Pete Townshend for you.” And I said, “Of course it is, he phones about this time every Saturday doesn’t he?” [Laughs.] I thought it was somebody making a joke. I picked up very sarcastically, “Oh, hello Pete.” And he said, “Oh, hello Dave, this is Peter Townshend here and I’m sitting with David Gilmour, and we’re trying to work out your song ‘Save It For Later,’ but we can’t work out the tuning.” They presumed it was DADGAD as well, and couldn’t make it work, and so I had to explain that I’d made a mistake and it was not DADGAD, it was DADAAD. And he laughed and said, “Oh, thank heavens for that! We’ve been breaking our fingers trying to get our hands around these chords.” [Laughs.]

Over the past few days I've had cause to think a lot about The (English) Beat song "Save It For Later," and what its primary writer Dave Wakeling said to me about it In a 2012 AV Club interview. 1/2

This is amazing, thanks!

Photographed in colour 115 years ago, I have cleaned-up this gorgeous autochrome plate by Julien Gérardin, photographed in France in 1910. It is original colour, not colourised.

Listened to the new Stereolab album today and it's absolutely magnificent

Cheers, will Def give it a go

Been meaning to listen to this, heard it's pretty "sparse"?
Any good?

😢

Just watched highlights of #CFC beating NUFC away 0-3 in 2021 and have absolutely zero recollection of any of it.
Show me a clip from 1984 and I could probably tell you what I had for breakfast that day.