This is officially the second post after my memorable - albeit lengthy - story marking the launch of Phil’s Proof. But don’t think I don’t know what you’re thinking.

You’re thinking, ‘Shit. It was all hot and heavy last night, but now he’s gonna get all serious.’

And ‘course, I’m all, ‘Honey. It was good for me too. But we need to talk about our relationship. Where do you think this is all going? Where do you see us in two years? Don’t you think it’s going a bit fast?’

Then you’ll be all, ‘Nuh uh. Wasn’t too fast for you last night, was it? Well you can just screw yourself, Phil, cause I don’t need none of this’, and then you’ll scoop your silk blouse and short skirt off the floor, grab the dangly earrings by the table, jam your right foot into your left sneaker, and vamoose.

Then it’ll be all repressed memories again.

I’m sorry, I lost myself. Ah yes. Typically, I’m expected to give a long spiel about the days I suffered making this site possible; the dates with various supermodels I gave up with an excuse of having to work on the coding; the sleepless nights and overcaffeinated effects; as well as what Emo band I was rockin’ out to while I completed this colossal undertaking. Well, actually, it’s more like what Aria by Puccini I was currently headbanging to at the time. Please. Don’t laugh.

My point is, this is exactly what I’m not going to do.

At least not until I find a more subtle way to sneak this information to you. So in the next few weeks, you can expect me to write all the cruddy details of how I made this fantastic page, but I’ll be sure to slip it discreetly between interesting blurbs.

And one of these days, I’m going to have to write up a colophon with all the gory details of how Phil’s Proof came to be, especially for all you freaks readers who want to know exactly what brand of tea I was drinking while coding the layout, how many Photoshop layers I used during production, or why certain of the items you may find laying about are close to my heart.

‘I’ll be good, baby. I promise.’