#it's also so different from mine

[aliensupersim]

meet Rachel Anderson | casual-hot weather looks

rachel's an aspiring chef so she's always reaching for comfort, but i mean, look at her—she loves to turn a look too. call this bloke-core.

01. t-shirt | jeans | glasses 02. t-shirt | skirt | boots | purse 03. top | shorts | sneakers | waist chain* 04. t-shirt | skirt | sneakers

thank you to the CC creators: @seoulsoul-sims, @joliebean, @gorillax3-cc, @aharris00britney, and more!

*still in early access

[billpottsismygf]

Doctor Who: The Impossible Planet & The Satan Pit / The Legend of Ruby Sunday

[beaulesbian]

"Booker, how do I find her?"

[lazylittledragon]

so uhhhhhhhh. not to be cryptic and bitchy on main but congratulations to everyone in my messages for like 5 months on being right i guess

[ginpotts]

DOCTOR WHO 1.06 ✧ dalek

What the hell are you here for?

[jinikaris]

HYUNJIN and FELIX at Incheon International Airport // December 20th, 2024

[pokemonblack3white3]

Good afternoon to my favorite duo

[bepomepo33]

LAMB

Full comic under the cut (it’s a bit low quality on here tho lol)(crunchyyyyyy)

[aousboom]

I need a kiss on the cheek to console me.

TANFANG + KISSES IN EP 15 WE ARE SERIES (2024)

[yrsonpurpose]

It’s been one long, long year of learning Henry inside and out, learning himself, learning how much he still had to learn.

[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.

[soy-bean-factory]

big hoard of pathologic sketches / warm ups from twitter

[ingoodjesst]

have you put the pieces together yet, detective

[piko-rose]

"I never knew you were a hugger..."

"No body protects nature better than you, sweet Amy."

Whoa, he's bisexual! I didn't know that!

[asterdeer]

speaking of cross stitch, i forgot to post pics of the finished "live is where the learn is" project! from the amazing fanart by @brandirecognition which was turned into an amazing pattern by @sushibeth, found here. (if either of y'all want to not be tagged directly, lmk, i'm not sure of the etiquette here but i want to make sure y'all get your credit). i also got super, super lazy about the border and found this border from antiquepatternlibrary. anyway this is my favorite thing i've ever cross-stitched, i think, and the fanart/pattern is top tier. i would love to try and put this pattern in a sweater, too.

[chief-of-restless-hearts]

Obviously the symbolism of Wolfwood’s prayer being answered by the story’s Christ-figure is clear by itself, but I also noticed that when Vash reaches to catch the bullets, his hand is positioned over the place on Wolfwood’s cross where Jesus’ hands were nailed for his crucifixion: