#philip did THAT

[cutter-kirby]

obligatory “cool characterization, still murder” like I’m not excusing him but it does make him incredibly interesting

(*girl gender neutral edition)

[tapeworrmart]

Some of my fav fan arts I did in 2024! 🦂💖

This year I took mental health leave from uni and therefore I spent a lot of time having nothing to do other than draw and put all my energy there. It was difficult not to let it consume me, and I think in future I want to put less pressure on myself. But I think my art has really come a way this year with focus on multiple character peices and more colour :). Hope to keep drawing things I love, and thank you to those who liked what I do this year, really appreciate you 💖

[amoritasart]

He’s such a lil hater wtf 😂😭

Love how he’s still blushing like OMG THEY CAUGHT ME CARING 😩

[spectralbugs]

perceive me in the radiance of terror dreams and you can betray me

heeere are some progress pics because i actually rlly like how it turned out haha

thumbnails and notes i did early on ^

base lineart and coloring finished; rough color guide to the top left ^

aaaand lastly here's a few days work condensed into 60 seconds! its silent becuase i dont like music. i am musics number one hater

[gomzdrawfr]

Rolling into the parade in style

[link - join as free member to see this month’s requests in a single post!]

[anona1-mous]

Saw your reverse au thing and wanted to ask, instead of just kikimora on the door, its steve

i laughed my ass off due to the absurdity of drawing tube steve

[pissterdaniel]

I crocheted the Father Philip...

...to my Sister Daniel

more photos 👇 (and here (x) (x) (x) (x))

and some bonus pics of them cloud gazing and ice skating 🥰🌸

and now some yaps:

I kept a stopwatch going whenever I worked on Father Philip, so I can tell you that he took exactly 16 HOURS AND 2 MINUTES yikes.

Today also marks 1 month until I MEET DAN AND PHIL!!! Big yikes... Will be bringing the dolls to my m&g to show them, and if they have room I will happily gift them. If not, I was gonna get a print done of one of these photos to give them.

Also thinking of getting a couple photo prints for myself and have that be my signed item. I am just so proud of what I have created, and it would be super special to have posters of my dolls signed by Dan and Phil.

Next project: a granny square bandana to match my titfit (aka the phandana or even worse: the phanny square phandana) it is currently about two thirds done.

I also have started work on my next dolls which will be Viktor and Yuri from Yuri on Ice >:). Fully in the depths of a figure skating hyperfixation atm, have been super into the ISU Grand Prix series that is currently on. Should anyone wish to discuss this or YOI, my dms and inbox are always open :)

That's it for now, thank you for all the support 🫶. I hope you all love Father Philip as much as I do, and hopefully I did The Phlonde™ justice.

I realise most of these photos are from a low angle so have a bonus phlonde close up, ft. the phandana wip:

hair is by far my least favourite thing to do

okay now that is it, fyi I use the tag #pissterdaniel crochet for all of my crochet related stuff if you want to see more :)

[birbwell]

summer day in the cloisters

[torchlitinthedesert]

There’s something very strange about Paul’s usual “how John and I started writing” narrative. Here’s how he likes to describe it:

Me and John knowing each other, the fact that both of us independently had already started to write little songs... I said to him, “What’s your hobby?” I said, “I like songwriting,” and he said, “Oh, so do I.” You know, no one I’d ever met had ever said that as a reply. And we said, “Well, why don’t you play me yours and I’ll play you mine.” GQ, 2020

It’s my impression that this is now in the rotation of Paul Stories - I think he says it in McCartney 3,2,1, and in other interviews. Is it true? The earliest accounts contradict it:

“Paul’s first public performance, as a member of the Quarrymen, was at a dance… later on, after the dance, he played a couple of tunes to John he had written himself. Since he’d started playing the guitar, he had tried to make up a few of his own little tunes. The first tune he played to John that evening was called ‘I Lost My Little Girl’. Not to be outdone, John immediately started making up his own tunes.”

Hunter Davies, The Beatles, 1968

“‘I learned a lot from Paul. He taught me quite a lot of guitar really. He knew more about how to play than I did and he showed me a lot of chords. I’d been playing the guitar like a banjo so I had to learn it again. I didn’t write much material early on, less than Paul, because he was quite competent on guitar. I started to write after Paul did a song he’d written.’”

John Lennon to Ray Connolly, unpublished interview, 1970*

"He used to write songs before I even started writing songs."

John Lennon, St Regis interview, 1971

*[The Connolly quote is weaker as a source, because was published after John’s death (and he quotes it slightly differently: “I started to write after Paul did a song he’d written” is in Connolly’s John biography, but not in the version in his collected Beatle journalism). But it fits with the other accounts.]

Still, Paul’s version might have some truth in it. Mark Lewisohn cites a couple of 1971 interviews where John remembers trying to write a calypso song, tapping into a brief craze of spring 1957. I don’t know if he finished it, or told anyone about it. None of the Quarrymen mention it, while Pete Shotton told Bob Spitz that John was “floored” when Paul first played him one of his own songs. But the calypso story does make “so do I” seem more possible.

It’s still surprising that Paul wants to frame it this way. He’d be justified in pointing out that songwriting was his innovation, something he brought to the band. By any measure, he’s the one who started it: when he met John, he’d already written the melody of When I'm 64, plus Suicide and I Lost My Little Girl. And he was always prolific. As John told David Sheff, talking about I’ll Follow The Sun, “he had a lot of stuff”, “written almost before the Beatles, I think.” He was the one pushing to do their own material, whether that’s talking it up to music promoters or suggesting In Spite of All The Danger at their first amateur recording session. (To me, that suggests that Lennon-McCartney was established later than they tended to admit. In Spite of All The Danger, recorded in 1958, has George as cowriter; if Paul had written anything with John, I bet that's what he'd have suggested they record. And if John on his own had written something that was ready to record, they’d definitely have picked that. )

In the 1950s, writing your own material was groundbreaking: it’s part of the huge cultural shift into the 1960s. There were hundreds of skiffle/rock’n’roll bands in Liverpool, but it’s genuinely possible that Paul was the only songwriter among them. Why isn’t that the story he wants to tell?

When Paul started defending his legacy in the late 1980s, he was fighting against specific distortions. First, that he was the middle-of-the-road conservative one - which is why he lays out his avant garde credentials. So you’d think he’d want to remind everybody that he wrote songs first. But second, he’s up against the idea that he and John didn’t love each other, that they didn’t write together, that Lennon-McCartney was a myth. Paul is a rock star, with an ego to match; he’s not given to downplaying himself. But he wants the partnership more than he wants precedence, even more than he wants credit for innovation.

And he always did. Remember the story about John sharing half his chocolate bar? Paul joined the band, and shared half his songs.

He didn’t need to: he was already writing alone. If he wanted help, George was more musically accomplished, and would have been a more logical choice for a songwriting partner. But it's John whose attention and praise Paul needed, John who had the authority to say they’d play Paul’s songs, John who needed to feel like the most important person in the band. Becoming Lennon-McCartney formalises all of that. And Paul is still true to it.

Across decades, Paul has been consistent about promoting their partnership as a partnership, regardless of who did what. (This isn’t true of John, who by the late 1960s was eager to break down who wrote which song, which lyric, which middle eight.) After working with George Martin on the string arrangement for Yesterday, Paul signed the score: “"Yesterday" by Paul McCartney John Lennon George Martin Esq and Mozart.” Even as a joke, you don’t separate Lennon and McCartney. Ken Mansfield asked Paul why songs were “Lennon-McCartney” when John hadn’t been there for the writing process:

And Paul said: “John and I are so close to each other, we’ve been through so much together, we understand each other so much, our relationship is so deep, that when we’re songwriting,” he said, “even if I’m 6,000 miles away, I can be working on something and I can hear John over my shoulder going, ‘No, no, no, that’s not gonna work; why don’t we do this?’ Or ‘Hey, I like this.’” He said, “So, in essence, to me, we’re songwriting together even if we’re not together.”

Ken was asking about Ob-La-Di Ob-La-Da, not realising that John was there for that one: they worked on it in India. But rather than giving a practical answer, Paul chooses to frame the partnership as a profound connection. (Of course there are other times Paul insists on or overstates his contribution, or gets petty about who did what. He’s human, and he’s an egomaniac. But always, always within the framework that this was a partnership.)

Fundamentally, he’s loyal to Lennon-McCartney. “So do I” matters more to him than going first. It might not be literally true, but it's the emotional truth that he needs.

[slamvan]

hogtied and money gagged in hillbilly hell

[pinksilvace]

[justjudethoughts]

Say it with me, slowly: Susan was not in Aslan's country at the end of the Last Battle because 👏🏻SHE 👏🏻 WASN'T👏🏻 FREAKING👏🏻 DEAD👏🏻.

She wasn't on the train, because she wasn't with her siblings, because she no longer believed in Narnia and thus didn't go to visit the friends of Narnia. Therefore, she was not in the crash.

"Susan went to hell because she liked girly things" — bestie, SUSAN ISN'T DEAD. SUSAN ISN'T IN HELL. SHE'S IN ENGLAND, OKAY? IN ENGLAND. ALIVE.

This isn't a question of interpretation. It's a question of reading comprehension.

Yes, Susan is on the wrong path at the end of LB. She has chosen materialism over Truth. But she isn't damned. She still has time. Because she is STILL ALIVE.

[tapeworrmart]

Ignite 🔥

Black and white vers under cut:

[madarayurihistorian]

disgusting disgusting old man

[spectralbugs]

i hate them so much

[gomzdrawfr]

Old bonus works for ko-fi

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