i like how i was so focused on the idea that leo having raphs arm meant that raph had died so i completely pushed aside the idea that leo lost his arm at some point
since it looks p robotic my guess is that some of raphs body had got so badly damaged that donnie crafted him some robotic limbs- so leo probably lost his arm during/around the same fight that took raphs life then he just took raphs arm as a replacement for his own. either that or don was already gone when leo lost his arm so leo couldnt get a replacement of his own which means that leo probably went around w only 1 arm til raph had died. OR raph died first then leo had donnie build him a replacement in raphs likeness so he could still fight alongside them in a way
51 notes
·
View notes
I AM ?@@?@ okokook can i explain is that ok . mizuki is my headmate hteyre doing their own thinng + we have an ota ficitive who is transfem htatts the only reason i drew that !!! she is my friennd I DIDNT KWNOW THEY WERE ANTI ENDO ?@?@ i dont think they are anymore htey jsut havetnt touched that blog in a while since htey went dormant for a bit . promise it isnt me though you have to trust me if you can <- leike the blog isnt !!!
5 notes
·
View notes
Paul being very secure about his sexuality: A compilation
"The reason why we didn’t do Up Against It wasn’t because it was too far out or anything. We didn’t do it because it was gay. We weren’t gay and really that was all there was to it. It was quite simple, really. Brian was gay…and so he and the gay crowd could appreciate it. Now, it wasn’t that we were anti-gay – just that we, The Beatles, weren’t gay."
“It was always obvious Brian was gay and we could talk to him about gay things, but he would never come out with, ‘Hello, Paul, you’re looking nice today.’ I was quite obviously un-gay, due to my hunting of the female hordes. I think we all gave that impression."
Q: You must be very secure with yourself.
Paul: I think it is that. I'm OK with gay people, too, because I'm essentially comfortable with my sexuality. I can goof around with gay people. I sort of know who I am by now. And it's about time.
"I imagine he heard it [Dear Friend]. I think he listened to my records, but he never responded directly. That wasn't his way. We were guys; it wasn't like a boy and a girl. In those days you didn't release much emotion with each other."
"One thing he told us was that one in every four men is homosexual. So we looked at the group! One in every four! It literally meant one of us is gay. Oh, fucking hell, it’s not me, is it? We had a lot of soul-searching to do over that little one."
"There's a song I do called Here Today which is specifically written for John. That sometimes catches me out. I realise I'm telling this man that I love him and it's like I'm publicly declaring this in front of all these people I don't know. I sometimes wonder what I'm doing.
Q: In “Here Today”, you talk about your love for John. Did you ever say that to him, in those days?" Paul: No. I'm sure we both felt it. But that is not something two boys use to say to each other. If they were gay, maybe. Otherwise it is rare that that happens."
"My view is that these things are there whether you want them or not, in your interior. You don't call up dreams, they happen, often the exact opposite of what you want. You can be heterosexual and be having a homosexual dream and wake up, and think, 'Shit, am I gay?' I like that you don't have control over it. But there is some control -- it is you dreaming, it is your mind it's all happening in."
"We were in New York before he [George] went to Los Angeles to die, and they were silly but important to me. And, I think, important to him. We were sitting there, and I was holding his hand, and it occurred to me — I’ve never told this — I don’t want to hold George’s hand. You don’t hold your mate’s hands. I mean, we didn’t anyway. "
"Yeah, I think he [John] did [love me], yeah. It wasn’t actually a spiky relationship at all. It was, uh, very warm, very close and very loving, I think. All The Beatles. We used to say, I think we were amongst the first sort of men to come out openly – and you remember, it was quite sort of strange in those days, we’re talking about a long time ago now when homosexuality was still sort of largely illegal."
"Because he [Robert Faser] was gay, it raised a few small-minded eyebrows, and funnily enough, one or two of them were from within the Beatles: ‘Hey, man, he’s gay, what you going off to Paris with him for? They’re gonna talk, you know. Tongues are going to wag.’ I said, ‘I know tongues are going to wag, but tough shit.’ I was secure about my sexuality. I always felt this is is fine. I can hang with whoever I want and it didn’t worry me. I mean, we didn’t share a room or anything."
"With Robert’s thing of course there would be gayness. But there was no open gayness. If there was to be gayness it would be a quiet phone call that Robert would go and take in the bedroom or something. That was one of the good things, actually, because I knew he was gay and he knew I wasn’t gay so we were quite safe in our own | sexuality. We could talk to each other. "
Lastly, there is this odd anecdote that may or may not mean anything, but here it is:
One of the strangest of these incidents came at the end of 1992 when Mark Featherstone-Witty attended the MPL Christmas lunch. Mark took an accountant friend to the meal, a McCartney fan he'd known for years, which led to a strange and unpleasant row. By Mark's recollection, Paul's manager Richard Ogden summoned him into the MPL office the next day where he read him the riot act for bringing an unwelcome guest to Paul's party. 'What do you mean by bringing someone who was so obviously gay to Paul's Christmas party? Have you any idea about the responsibility you carry in this project?' he allegedly asked.
'What are you talking about?' replied Featherstone-Witty, explaining who his friend was.
'But he was gay, you stupid fucker!'
'No, he isn't.'
'You've got to be careful. You can't do anything that would embarrass Paul...'"
Fab : An intimate Life of Paul McCartney
by Howard Sounes
172 notes
·
View notes