I Accept Constructive Criticism As Long As It Makes It Funnier

hello!! hows the comic going? :) the color palette on the first few pages looks IMMACULATE im gonna eat ur art on a sliver platter

Hi!!! Thank you so much!

I’m actually quite close to finishing it, but as always I got second thoughts about literally every page on it so far. So I’m just taking some time off it :D My whole style changes throughout pages and that’s something I don’t like- but what’s done is done I guess. It’s just a silly smutty comic really that’s what I’m trying to remind myself daily :D here are some panels tho! Since my last semester is starting, I don’t know if i’ll have any time to continue this :((( but I’ll link my AO3 here soon!!

Paul calling George Martin “Daddy”

“We walked toward the sun and slipped through a copse of weeping willow. There in the middle of a field of wildflowers were two huge boulders weighing several tons and standing one atop the other like a pair of giant granite acrobats. “Are those the work of a sculptor?” I asked. “No,” [George] said, “they came from opposite ends of the property, but we moved them here and stacked them in this field. Everyone wants to know about them. In fact, when Ringo came round for a visit last summer, he asked about them, as well. I told him that Paul’s record company had sent them as a promo for his new album, Standing Stone. Ringo was really miffed that he hadn’t gotten his standing stones, but I said they’d probably only posted them to A-list people.” Liverpool accents always sound to me like a joke is coming, but Harrison’s wit was deadpan and dead-on.”

— Paul Simon, c/o Rolling Stone: Harrison: By the Editors of Rolling Stone. (2002)

John Lennon on the set of How I Won The War at the Desierto de Tabernas in Almería, Spain | September 1966

George Harrison on Let It Be, in an interview for Entertainment Tonight and WEA (taped on 22 September 1987; interview conducted by Laura Gross). No infringement intended, footage is copyrights its respective owner(s).

A look back at how George viewed the movie and The Beatles’ break-up in the 1970s, 1980s, and 1990s; and Dhani on the same subject in November 2021.

“[T]he group had problems long before Yoko came along. Many problems, folks.” - George Harrison, The Dick Cavett Show, 23 November 1971

“When you’re so close, you tend to lock each other up in pigeonholes. Musically, with Ringo and John I had no problem. But with Paul, well, it reached a point when he wouldn’t let me play on sessions. It was part of our splitting up. But at the same time I have a tendency to defend Paul — John and Ringo too — if anyone else said anything without qualification about them. After going through all that together, there must be something good about it. It’s just that around 1968 everyone’s egos started going crazy. Maybe it was just a lack of tact or discretion. Probably the biggest problem of them all was that there was no way Yoko Ono or Linda McCartney was going to be in The Beatles. That really helped put the nail in the coffin. That’s said without any bitterness against Yoko and Linda, because I can really enjoy them as people, but, let’s face it, The Beatles were not with Yoko or Linda. I suppose it was a result of Yoko being an outsider, coming in… and John was pushing her… and she had such a strong ego anyway. Then Paul got Linda to get his own back.” - George Harrison, NME, 11 December 1976

“[Let It Be] was really supposed to be us rehearsing to make a record and they were just filming the rehearsals, and that turned into the movie, you know, Let It Rot (laughs), as The Rutles called it. That, you know, I didn’t like. There’s scenes in it, like on the roof, that was quite good, and there were bits and pieces that’s okay, but most of it just makes me so aggravated that I can’t watch it. Because it was a particularly bad experience that we were having at that time, and… it’s bad enough when you’re having it, let alone having it filmed and recorded so that you’ve got to watch it for the rest of your life. I don’t like it.” - George Harrison, interview for Entertainment Tonight, taped 22 September 1987 (x)

Gerge Harrison: “At that point in time, Paul couldn’t see beyond himself. He was so on a roll — but it was a roll encompassing his own self. And in his mind, everything that was going on around him was just there to accompany him. He wasn’t sensitive to stepping on other people’s egos or feelings. Having said that, when it came time to do the occasional song of mine — although it was difficult to get to that point — Paul would always be really creative with what he’d contribute. For instance, that galloping piano part on While My Guitar Gently Weeps was Paul’s, and it’s brilliant right to this day. On the Live In Japan album, I got our keyboardist to play it note for note. And you just have to listen to the bass line on Something to know that, when he wanted to, Paul could give a lot. But, you know, there was a time there when…” Q: “I think it’s called being human — and young.” GH: “It is… [sighs] It really is.” - interview conducted in 1992; Guitar World, January 2001

Keep reading

 Brian and Paul plays a game of cards during the Philippines leg of the Beatles’ final world tour, 3rd-5th July 1966. 

(Photos by Robert Whitaker/Getty Images)

paul: john likes me ?!?! but ...😳 hes a boy ... and ... IM a boy >_<

george: uughh how can i get them to see im just as good of a songwriter as them🚬🚬

john: okay ringo now hit the second tower

“I first met John Lennon through Tony King, who had moved to LA to become Apple Records’ general manager in the US. In fact, the first time I met John Lennon, he was dancing with Tony King. Nothing unusual in that, other than the fact that they weren’t in a nightclub, there was no music playing and Tony was in full drag as Queen Elizabeth II. They were at Capitol Records in Hollywood, where Tony’s new office was, shooting a TV advert for John’s forthcoming album Mind Games, and, for reasons best known to John, this was the big concept. I took to him straight away. It wasn’t just that he was a Beatle and therefore one of my idols. He was a Beatle who thought it was a good idea to promote his new album by dancing around with a man dragged up as the Queen, for fuck’s sake. I thought: We’re going to get on like a house on fire. And I was right. As soon as we started talking, it felt like I’d known him my entire life. We began spending a lot of time together, whenever I was in America. He’d separated from Yoko and was living in Los Angeles with May Pang. I know that period in his life is supposed to have been really troubled and unpleasant and dark, but I’ve got to be honest, I never saw that in him at all. I heard stories occasionally – about some sessions he’d done with Phil Spector that went completely out of control, about him going crazy one night and smashing up the record producer Lou Adler’s house. I could see a darkness in some of the people he was hanging out with: Harry Nilsson was a sweet guy, an incredibly talented singer and songwriter, but one drink too many and he’d turn into someone else, someone you really had to watch yourself around. And John and I certainly took a lot of drugs together and had some berserk nights out, as poor old Dr John would tell you. We went to see him at the Troubadour and he invited John onstage to jam. John was so pissed he ended up playing the organ with his elbows. It somehow fell to me to get him offstage.”

— Elton John, Me. (2019) (Note: You can watch the Mind Games commercial of John and Tony King in drag dancing here. You can read the continuation of this quote here.)

1979 is now up there with 1968 in my “WHAT THE HELL HAPPENED BETWEEN PAUL MCCARTNEY AND JOHN LENNON” years.

You don’t just make something as joyful, teasing, naughty, and romantic as McCartney II out of the blue… You don’t just then come out of retirement out of the blue and starting boogying to Double Fantasy + Milk and Honey tracks COINCIDENTALLY, do you? DO YOU??

This is driving me a little crazy. What is your favorite conspiracy theory here?