Loki, God of Mischief (Monday 7th November 2022)

Loki was definitely in a dark mood yesterday afternoon, playing with his toys and trying to destroy ornaments and plants. C. thought that because we were conversing he was feeling left out. Light was a problem without using flash and he clearly didn't want to be photographed either, but I did get a few shots. Here he is on the conservatory table.

L.
Tuesday 8.11.2022 (1143 hr)

Blip #3764 (#3514 + 250 archived blips taken 27.8.1960-18.3.2010)
Consecutive Blip #000
Blips/Extras In 2022 #199/265 + #086/100 Extras
Day #4610 (1105 gaps from 26.3.2010)
LOTD #2906 (#2746 + 160 in archived blips)

C's Cats series
Cats series
Macro series

C's Cats (2022) (Flickr album of 2022 so far, newest first)

Taken with Pentax KS-1 (Blue) and Pentax smc P-DA* 55mm F1.4 SDM prime lens

Lozarhythm Of The Day:
Beatles - One After 909 (2021 Mix) (recorded live, Apple rooftop, Savile Row, 30 January 1969)
I've now finished watching the three parts of the Peter Jackson Get Back documentary series. which culminates with the rooftop concert, their last ever live performance, which of course also featured in the film Let It Be all those years ago. Technologically Get Back is outstanding - the picture and audio have been spectacularly restored so that both could have been recorded yesterday, but I have to say that the editing by Peter Jackson is a hotch-potch. It has far too much cutting up into fragments of songs and dialogue so that we never get a full performance of a song or any sense of time and space as songs are switched midflow as if that's what the Beatles did. The whole thing is made to look far more chaotic and unfocused than it was.
Even the rooftop performance is interspersed with comments made from the crowd on the pavement below as the group are playing, and of backstage scenes when the police arrive. Even the performance of Let It Be, recorded the following day and used for the original film and album, was needlessly cut up, destroying the musical experience. Watching the fab four at work and play together with wives, girlfriends, friends and workmates was never less than fascinating, however. Billy Preston's contribution to the finished result is incalculable.
One After 909 dates back to 1957, when it was written; a 1963 studio recording was included in Anthology 1, and it was for me the highlight of the rooftop performance, with John and Paul sharing lead vocals.