#I’m not sold on it yet. but I was never a hater from the start I’m always hopeful for adaptations

[marvelslut16]

Oblivious

Prompt number: 18 “you don’t see it?”

Fandom: Saturday night live? Pete Davidson?

Paring: Pete Davidson x reader 

Rating: T

Word count: 1.6k

Warnings: An asshole cheater. Mentions of Ariana Grande (yes that’s a warning- don’t come for me). Swearing. Mentions of slight sexting- just mentions boobs nothing graphic. Mentions rehab. Slightly angsty ends fluffy.

A/N: So I broke my one rule and wrote for an actual person. Pete Davidson is precious and doesn’t deserve the hate he gets. I was also almost hella basic because I was so close to titling this the king of Staten Island. Anywho, the cheating scum part of this story happened to me and I immediately thought Pete would never do this to me- so I wrote this lmao. I think my love for the Knicks seeped into this story a bit. 

You had been talking to a guy for close to three months now. You thought he was charming, and sweet, and he was built like a god! You’re friends were a little weary, none more than Pete, when you admitted you hadn’t met up with the man yet. Their faces would go from being happy for you to pitting you instantly. But you knew you weren’t being catfished, you video called with Henry multiple times a week. While Henry wasn’t your first choice, he never would be, you were starting to see a future with him. 

But that vision went to shit with one simple text. You had gotten a new bra, maroon and lacy, and boy did it make the girls look good! Feeling a little flirty in your new bra, you texted a picture to Henry to be a little tease while he was at work. Almost instantly you got a text back, and it read; ‘shit baby, you’re tits are way better than my girlfriends!’ with multiple heart eye and drooling emojis to follow. 

You had never felt more embarrassed in your life! And that’s saying something considering Pete makes jokes about you on SNL and in his standup routines, all approved by you beforehand of course. You had met Pete years ago, while he was scrawnier than he is now, had a lot less tattoos, and right when he was just starting SNL. You had bumped into him on the sidewalk while trying to catch a cab in the pouring rain, you expected to be yelled at with a thick New York accent for what felt like the millionth time that day, but it never came. Instead Pete hailed the cab for you but not before exchanging numbers and promising to show you around since you had just moved to the city for college. 

After showing you around the next day, you were surprised when he continued to text you for the next month. To pay him back for his generosity you took him to see a Knicks game, lucky for you your dormmate had a fight with her boyfriend so she sold the tickets to you for dirt cheap. The seats weren’t great, all the way up in the nosebleed section, but you were in Madison Square Garden watching the Knicks! Pete was pleasantly surprised by you when you could name the players and you actually knew how the game was played, unlike girls he had dated. Of course before you left the arena you had to splurge and got yourself a Carmelo Anthony jersey! 

Many years and Knicks games later you’re still friends with Pete. You’d call him your best friend, but you know Colson is his even if he claims it’s you when you’ve asked in the past. You’d be by Pete’s side every time he admitted himself into rehab- making sure you were there to pick him up when he got out. You had been there to pick up the pieces after Ariana- hell you were picking them up when they were still together. You were beside him every time he got bullied off his social media by stupid haters or little Ariana stans after they broke up. He made sure to be at your graduation, and he was there to rant to when you had a bad day at work. Pete was there to hold your hand when you got your first tattoo, which he wanted to pick out for you but you refused. Pete was there to pick up your pieces when a guy hurt you, like right now. 

You’re in his basement, curled into his right side, his right arm slung securely over your shoulder, his fingertips making soothing trails up and down your arm. You had convinced him to watch an old episode of SNL- before he was on it, but new enough that Kate McKinnon and Bill Hader were on it together. You snuggle further into his warm side and let out a content sigh. 

“You were too good for him, (Y/N/N),” Pete finally brings up the elephant in the room. You had hoped that watching an episode of SNL would put the ‘you deserve better than him, he’s just scum,’ talk Pete gives you every time you go through a break up.

“If I was too good for him, then I’d still be with him,” you murmur a line from the movie clueless into his baby pink sweatshirt covered chest. 

“None of these guys deserved you, (Y/N/N),” Pete says sternly, you roll your eyes not in the mood for him to tell you how amazing you are but not make a move on you, yet again.

“Pete, stop,” you pull away from his chest, his arm falling off you as you scoot to the front of the cushion. “I really don’t want to have this conversation again, no matter how many times you tell me I still won’t believe you. I should get going, don’t want to miss the last ferry back to the city.”

“(Y/N), please, wait,” Pete’s skinny fingers wrap around your wrist as you stand and go to walk towards the door. “We just ordered pizza, just stay the night.”

“I can’t Pete,” you whisper, staring down at your sock covered feet, you had gotten Pete to take better care of his hardwood floors by convincing him to have a no shoe policy. “Give some pizza to your mom and your sister.”

“You’re off tomorrow, you originally planned on staying,” if you didn’t know any better you’d say his voice was laced with hurt and disappointment. “Why won’t you stay now?”

“I can’t keep doing this Pete,” loud laughing coming from the studio audience on the now forgotten episode of SNL only seems to be mocking you and your feelings. “Every time you tell me how amazing I am and you don’t- it’s just hard to believe when no one seems to agree with the sentiment.” 

“You don’t see it?” his voice is soft, he stands from his seat, getting momentarily stuck in the blanket that was draped over your laps. “You really don’t see it,” this time it’s not a question, it’s a statement. 

“See what Pete?” he lets go of your wrist to spin you around to face him. 

“That I’m in love with you,” his eyes shine in sincerity, but they aren’t what you’re focusing on. “That I have been since that first Knicks game!”

“You don’t love me,” your voice shakes as you stare at the heart that was once Ariana’s bunny ears peaking out above his left ear. You reach up and gently trace your finger over the heart. “You’ve dated models, and movie stars. You were engaged to Ariana, even after you knew she didn’t want us to be friends. Because she didn’t trust me. You didn’t love me Pete, you chose her, and yet I was still there to pick up the pieces after you ignored me for months, because I love you. Because I didn’t care how much I was hurting, I knew I had to be there to make you feel better, to be able to see your smile again.”

“I was settling for Ariana!” he grabs your cheeks so you can’t look away. “I thought I could get her to warm up to you, I’ve never wanted you out of my life (Y/N)! You were with Eric at the time, it hurt like hell to see you that happy with someone that wasn’t me! So I proposed to Ariana because Eric bragged that he had a ring for you! But then you guys broke up and I couldn’t just break up with her right after I proposed.”

“Eric did propose, I said no and broke it off,” you smile sadly. “He, like Ariana, didn’t want us to spend time together, so I dumped him. All of the guys eventually realize they’re second to you, so they either break up with me or ask me not to see you anymore. And I was selfish every single time, I hurt them so I could be happy with you in my life.” 

“Fine, you want the truth?” Pete asks, and you nod. “It wasn’t the Knicks game. I knew I wanted to date you that night. But the first time I knew I loved you was when you came with my mom to pick me up from rehab the first time after we were. You didn’t run far away from me, you still wanted to be around me and you put up with my shit. Everyone leaves when I go to rehab, they think I’m too much to handle.”

“Well I don’t! I never have Pete!” you’re crying by now. 

“I know! Fuck, you’re too damn perfect for me (Y/N). I convinced myself for so long you were too good for me, that you couldn’t love me,” you don’t know how to verbally respond, so you do the first thing that comes to your mind. 

You grab the back of Pete’s neck and pull him into a kiss, it’s all teeth and tongue. The passion sends jolts of electricity through your body, a wave of giddiness rolls over you as you realize that this is really happening. You’re really kissing Pete, he really loves you too. As the kiss continues it becomes slower and more gentle, both of you want this feeling to last as long as it can. When you finally pull back, lungs burning and desperately in need of air, the feeling of his lips linger on yours. 

“I do love you, (Y/N/N). There’s never really been anyone else,” he caresses your cheek and gently brushes his lips on your forehead. 

“I love you too Pete,” you lean in for a peck, which he quickly deepens. You pull away giggling, “so much.”

Permeant tags: @crimson-knuckled-queen​ @rexorangecouny​

#pete davidson x reader #fictober20 #day 6 of fictober #Pete Davidson #pete davidson snl #fictober 2020 #fictober #i love pete davidson #pete davidson x you #pete davidson x y/n #snl #snl imagine #this man deserves the world #pete davidson imagine #pete davidson fanfiction #pete davidson one shot

[thoughts-on-bangtan]

Hi! I hope you’ll answer this question bc it bothers me quite a lot.. https://www.quora.com/What-does-it-mean-now-that-BTS-are-partial-owners-of-Big-Hit-Entertainment do you think it is true what the second person (Christine Herman) said? After reading this, i started to wonder…what if BTS does really have only profit in mind while doing new projects these days? Maybe they don’t really care anymore about creative and meaningful lyrics and sound? With Butter and PTD…all this generic music sung in English. Of course they say “we wanted to make fans feel good”, “butter and ptd represent who we are” and all these things fans want to hear but.. do you really think it’s true? moreover, don’t get me wrong, i don’t find product placement in their reality shows as something terrible, i believe this is a normal thing, however, nowadays the members really film ads and do marketing a lot. so yeah, for some reason i began to question their integrity dhsjjss i hope you will understand from where my concerns come from and won’t find this ask stupid sjdjjdjd

After reading that persons answer I can immediately tell you that I basically don't agree with an overwhelming majority of what she said (even more so since a lot of it just makes her sound like a manti that hates the company and basically would want them to make music for free or something). Generally I don’t agree with most of the opinions this person holds, and also Quora really isn’t a good source for info or good opinions, most of it is written by mantis, haters, and toxic shippers with an agenda so most ARMY will tell you to stay as far away from that website as possible.

Anyway, her focus in that answer was on money, since BTS are shareholders (and how that’s a conflict of interest despite other artists doing the exact thing but no one really cares or ever thinks about it), but what she failed to consider and note was that Big Hit Music, so BTS' label, isn't part of HYBE in the sense that shareholding has no baring on it since BHM is private. So while BTS profit off of HYBE doing well, and have a small percentage of a voice as shareholders, that has nothing to do with BHM in the classical sense, even if BHM's earnings reflect well on HYBE numbers and the shareholder money. 

BHM was made private to ensure their artistry would remain untouched, that was the whole point of that.

Even if they weren't HYBE shareholders, take Namjoon as example. He has more than 170 KOMCA credits, is among the top 3 Korean artists with the most credits and is also the youngest of them all. It is said that his earnings from that alone can sustain his family for 3 generations over. Look at Hobi and Chicken Noodle Soup, that song was a hit and he paid the original creator of that song 2 million dollars upfront and earned a lot back due to how successful it was. Same goes for Hope World which, again, was and is still immensely successful. Look at Yoongi and his work both as prod. SUGA, featuring artist SUGA, and as Agust D, as well as the credits he holds for his work on BTS songs (giving him as well a total of over 100 KOMCA credits, just like Hobi). Bangtan have worked and continue to work extremely hard for their music, put their heart and souls into it, and it shows even if their style changed as they grew older and more mature.

Yes, money is a major motivator, but looking at the above paragraph, do you really peg the members as these corrupt money hungry sellouts with no music related integrity? Who would need to sign major deals and would throw away their passion to just release empty shells of music for the sole reason of money? Am I naive enough to believe that they don't care about money? Of course not, we live in a capitalist society and even if BTS wouldn't care about money anymore at this point, HYBE very much does, and yet still I can't find it in me to agree with any of what was said in that answer that person wrote.

More below the cut:

And that point about how Hyundai cars were sold out because of BTS, isn't that the point why literally any company ever hires celebrities to advertise and endorse their product? And sure, again, I'm certain they earned a lot on these deals, they aren't the first or last or only ones in the history of ever to do so. Besides, look at JK and what he's done for small companies, or Tae who wore a brooch made my a small creator at the airport which catapulted that creator into the eyes of millions of ARMYs enough so that they could move to a proper studio and earn money with their work. Or the modern hanboks JK wore which led to the brand being able to move into actual stores in malls because of their sudden new popularity and demand. Or him wearing a bracelet that helps whales with a percentage of the money from the sales of said bracelet. And for all of that JK and Tae didn't earn any money at all. JK himself said that he's more conscious of the brand he wears now because he wants to help smaller businesses in these trying times, not because they pay him to do so (especially since they would never be able to afford that), but because he's aware of the influence he has and how he can use it to help others. Sound very much like a capitalistic villain, right?

As for the product placement bit, have you been on YouTube recently? Have you noticed that many, if not most, YouTube videos by “bigger” creators (and by that I mean even people who are around the 100k subscriber mark) begin with them thanking whoever sponsored that particular video and give you a scripted minute to two minute long ad before getting into the actual topic of the video? And In The SOOP featuring Chilsung Cider, FILA clothes and the random mention of how good Samsung phones are isn’t much different from it, though really, if you’re not someone interested in fashion much, would you really notice or care that they wore FILA? It’s just...clothes? If it weren’t a BTS related show, would you even notice it much? And it’s not even like they mentioned those brands every five minutes or anything, just a few times, which sure sounded a bit out of place at times, but personally I thought it was easy to look past. That’s just how things work nowadays and it’s odd for people to behave like somehow BTS are the first and only ones to use product placements despite literally every movie and show doing it in subtle and less so manners.

The answer by that person you sent also mentioned the Hyundai song for their car IONIQ and, unsurprisingly, that person wrote it off as just some commercial jingle but I’d actually disagree with that. Not to sound like a Hyundai and Samsung stan, which I am neither of, but I actually think those two knew best how to utilize the artist they have spent millions on signing a deal with. Hyundai didn’t just write them off as pretty faces with a millions strong fan army behind them and that’s it, they remembered that they are musicians so they gave them a song and made a whole music video for it as well. And say what you will, it is a good song. Then, just a few days ago, Samsung stepped up their game and we were given Over The Horizon Prod by SUGA of BTS. For those who aren’t Samsung users, Over The Horizon is their signature ringtone and basically their company sound, and over the years different artists were asked to make their own version of it. And this time they reached out to Yoongi and asked if he’d like to do it as well. It’s kind of a big deal. Sure, Butter is used in one of their commercials much the way Dynamite was last year, but that’s beside the point. Would that person make the same claim about Imagine Dragons whose song Believer is also part of the ads for the new Samsung phones? I have my doubts.

Furthermore, and I don't want this to come across as mean toward you but, I think it is uncalled for to question their artistic integrity based on a total of 3 (three) English songs when last year alone we received 50+ songs, most of which were in Korean, among them the entirety of BE which was, according to the members, the album they were most involved in ever when it comes to both music and everything around it.

You can dislike their English songs, that’s more than fine, they have a very extensive discography you can listen to instead, but questioning their integrity based on them doing something that most, if not every, artist on their level does (as in sign ad deals with brands etc) is a bit much if you ask me. Does that mean indie artists whose songs get picked up for commercials (or for Netflix shows or movies) and thus it catapults them into the mainstream are also just money hungry people with no integrity and ones who don’t care about their music? Or is that, again, just a standard Bangtan is held to (as in that their integrity is questioned based on everything, even the most trivial/normal things) that only applies to them and no one else?

In the recent Weverse Magazine article about how Permission to Dance came to be there is a lot of talk about not only that song but also Butter and Dynamite, among the things being discussed and talked about they mentioned how the original lyrics for Butter were much more materialistic but that the members didn't like that so they asked for that to be changed. Likewise the original lyrics for Permission to Dance, as you'd expect from the penmanship of Ed Sheeran, were much more romantic, almost proposal like, which wasn't what the members wanted either so it was, again, adjusted in a way that would fit what they, as well as the A&R team, wanted. While you may not like these songs, they still had a say in them to a certain degree, could say yes or no and ask for adjustments. Why else would PTD take eight months?

While they might outsource their English songs, their main focus, so their Korean (as well as Japanese) discography is still centered around them, their lyrics, their songs, their sound. Of course you’ll also find outside producers and some lyricists on those as well, because that’s how music works these days, as in collaboratively, that doesn’t change anything at large. Their integrity is still very much there, their hearts are still in it, what other reason would any of them have to say that they want to continue for a long time, for Yoongi to say they want to figure out how to make their career last as long as possible, for JK to say that he wants to sing forever?

Admin 2 also wanted me to add that in their opinion, to a certain degree (though not fully of course), their English songs are like a way to laugh at and expose how shallow the English-centric music industry is. As in, while they made music in Korean with deep and meaningful lyrics, the US industry didn’t care but once they switched to easy to listen to sound with easy to understand English lyrics, they suddenly paid attention, are played on the radio, and even received a Grammy nomination which they wouldn’t have gotten for a Korean song ( A1: regardless how much Black Swan or Spring Day really would’ve deserved it...). 

#answered ask #BTS #hybe entertainment

[natromanxoff]

Record Mirror (July 14, 1979): 119/?

THE QUEEN BACKLASH ENDS HERE

WITHOUT DOUBT Queen are among that elite number of bands universally hated by the rock press.

The rancour is, make no mistake, mutual which is understandable. If you find yourself on the receiving end of an inveterate dislike at the outset of your career and watch it being nurtured and carefully cultivated over the next six years you’re bound to retaliate.

Queen’s hatred manifests itself by their continued habit of ignoring the music press i.e. refusing to give interviews. There is the occasional token “chat”, pointless as it is innocuous, but in the main it amounts to a blanket “No.”

One of the last interviews Freddie Mercury gave was the last nail in the perspex coffin. Under a headline which boldly asked ‘Is This Man A Prat?’ the king of the leotards was demolished by one of the old school Queen haters and Freddie obviously came to the conclusion, in its wake, that interviews in future would be both superfluous (he was popular enough) and detrimental.

The curtain, velvet naturally, closed.

Roger Taylor, a little wary, a little weary, sits stiffly in an armchair. The juggernauts rattling the Chelsea Street outside create a sonorous buzz bomb hum in the room.

You expect a member of Queen to look elegant. In fact Roger is only wearing a wine colour mohair jacket, black shirt and blue jeans.

He apologises for being a little late and explains how he went to the wrong address. Roger seems to be the only member of Queen left who is prepared, albeit rarely, to open his mouth in the presence of a hack. A question springs to mind . . . why?

“We all sat around a table before I flew over from Munich to discuss the press situation and we agreed I should be the one to represent the band. Freddie is very uncompromising and refuses to have much to do with journalists.

“Obviously, he’s had a few raw deals with them in the past,” observes Taylor.

Roger himself has a rather low view of the music press.

“Most of it is rubbish. There was something I liked recently, a piece on Malcolm McLaren, but in the main I think I’m the only one of Queen to actually read the music papers.”

Why does he think the band are systemically slagged?

“I think it’s because Queen have always come across as being a rather confident band. We seemed, to other people at least, to be very sure of ourselves. I think the press may have misconstrued the confidence, mistaking it for a form of arrogance. Hence they became wary of our motives which bred a dislike for our music.”

Now that’s what I call a neat conclusion.

At the risk of being sent to Coventry by my colleagues I’d like, if I may, to come clean. I love Queen (you’re fired, Ed).

I think it all began with a simple pre-packed but indisposable line – “Dynamite with a laser beam” and has continued uninterrupted (despite the occasional flaw) right through to ‘Queen Live Killers’.

A combination of reasons, Freddie Mercury’s lascivious lisp – the most attractive intonation known to man . . . Brian May’s reel ‘em off rococo riffs that would, in his capable hands, transform the theme music for ‘Waggoners’ Walk’ into a meisterwork . . . John Deacon’s almost stoic stance, incongruous yet integral . . . Roger Taylor’s intense power, so unexpected from one so slight . . . the ability to go over the top without failing into the trap of caricature . . . a desire to give the punters what they want without pandering . . . that cast iron confidence . . . those nine glorious winter weeks of ‘Bohemian Rhapsody’ which kept the cold away from my soul . . .

Yes, I love Queen.

Roger explains the story behind ‘Killers’ which features just about every Queen classic which ever found its way into a silk lined memory bank.

“We always knew that one day we would make a live album. I think it was well planned. About 90 per cent of our last European tour was recorded on a mobile unit and we then spent weeks sitting through the songs in the studio.

“The result is a 100 per cent LIVE album. Nothing has been touched up in the process of selection, I think that’s pretty rare these days. Many ‘live’ albums are tampered with.”

The choice of single is unusual – ‘Love Of My Life’. “It’s not so unusual when you hear the way it came out. The song seems to have such a wide appeal. Everywhere we go the reaction to it is the same. The audience are just bursting to sing along.”

The result is Queen’s best single since ‘Don’t Stop Me Now’ (that was their LAST one crawler, ED)

As I mentioned earlier the band are currently residing in Munich where they are “experimenting” in the studio.

“We are recording in a totally different way for us,” says Roger who speaks with a delicate London accent only typical of cockneys with dramatic training and David Essex.

“Every time we entered a studio in the past we had a good idea of what we were going to do. This time we started from scratch and the result is amazing. The music is nothing like anything we’ve done before, I guess you could say it’s much simpler.”

And this novel approach to their music also extends to their shows. On their next British tour – in the late Autumn – the band will be playing much smaller venues than they are accustomed to.

“In London for example we went to play to audiences of about two or three thousand in different areas. I think it’s much fairer to the fans.”

But won’t this affect their stage show which is after all a crucial factor for any powerpomp outfit?

“Not really. We will just scale down the show accordingly. Besides,” he says taking another bite out of the biscuit, “we haven’t used dry ice in years.”

The monkey on Queen’s back, as corpulent and cantankerous as ever, has been put there by those who firmly believe the band can never emulate past achievements. Roger is cognizant of its presence but refuses to unpeel its bananas.

“That all began after ‘Bohemian Rhapsody’. When it stayed at number one all those weeks we were kindly informed that we would never be able to make another single to rival it both artistically and from the point of view of sales.

“Yet ‘We Are The Champions’ sold a great deal more and has since become the biggest selling single in the entire history of Elektra Asylum – our label in the States.

“We don’t do the amazingly complex things any more because we’ve moved on from that. We concentrate on the music we are doing now and we intend to do it the best we can, it’s ridiculous looking behind and and what you’ve done.

“There’s nothing like going back on the road to re-unite the bond between the four personalities and strengthening our belief in the band. We are a real working unit and, in my experience of the music business, one of the most democratic bands around today.”

A statement like that cries out to be expounded.

“People think every member of all the bands, not naming any names, are treated equally that is get the same money as their colleagues. That’s rubbish. In many bands there are a couple of guys that get all the money. The rest are on wages. Queen share the profits equally.”

And they don’t have a manager taking his cut either, John Reid departed a couple of years back and now the band themselves make all the major policy decisions. Why did they decide to dispense with the services of a manager?

“Basically because we were fed up with giving other people money. Y’know it never ceases to amaze me how naive those guys are in bands who have just had their first hit. After all this time I’ve forgotten just how naive we must have been at the beginning.

“I mean, everything seems so great when you get into the charts for the first time. You’re living on cloud nine and nothing else matters. But in truth that hit means absolutely nothing. So few people achieve any amount of financial success in this business.

“Oh, you think, you’re really living . . . for a while. Somebody gets you a flat in Chelsea and it’s all free. But one day the rent stops being paid for you and you realise you’re skint.

“Since John Reid has gone the four of us have always made a point of discussing everything together. We have various people working for us but all the important decisions are made by us alone. That way we get freedom of choice – and financial independence.”

My attention is suddenly diverted.

“FORTY-LOVE!” Wimbledon, the Persil White opiate for the hoi polloi squashed in a strawberry crush wrings out its perspiring petticoats on the TV in the next room.  Roger’s girlfriend, an extremely attractive French girl called Dominique, is engrossed. The couple have lived together for two years. Crippled old marriage questions permeate the air.

“I don’t believe in marriage,” says Roger. “It’s simply a contract and the fewer contracts I enter into the better. If you get on well with someone then there isn’t any harm in living with that person – but marriage is something else again.”

They live in a six bedroomed Victorian house just outside London, which is set in 20 acres. Roger has a “tiny” town house in Barnes as well. What’s it like having a bank full of money at the age of 29?

“I don’t hide away from life. Queen have never been one of those ‘being grabbed in the street’ type bands. It may happen when the four of us are together – but when we are out alone we are seldom bothered. That gives me the opportunity to enjoy myself. I go to clubs a lot. I like having a good time. I don’t think you could describe any of the band as leading sheltered lives.

“But I have completely lost touch with how much things cost. When you find yourself living in hotels for so long you never really deal in money as such. Everything is available whenever you want it – but you never see the cash actually being handed over.

“I’ve forgotten what it was like to be penniless which Queen were for years. I guess that must happen to many successful rock bands.”

Another thing that happens to many successful rock bands – they quit the country. But not Queen it appears.

“We have always based ourselves in England and I see no reason why we shouldn’t continue to do so. We could leave at any time but we choose to stay. People believe we are tax exiles because we spend a lot of the time out of the country recording in studios all over Europe and touring.”

And what will happen when the band finally trudge wearily down the road leading to that  ivory strewn elephants’ graveyard . . . ?

“I know it’s bound to happen one day. I suppose I’d take a long, long holiday . . . and then make a solo album.”

#queen #queen band #roger taylor #dominique beyrand #freddie mercury #brian may #john deacon #record mirror #record mirror july 1979 #queen scans

[taylorswifthongkong]

Taylor Swift broke all her rules with Folklore — and gave herself a much-needed escape The pop star, one of EW's 2020 Entertainers of the Year, delves deep into her surprise eighth album, Rebekah Harkness, and a Joe Biden presidency. By Alex Suskind

“He is my co-writer on ‛Betty’ and ‛Exile,’” replies Taylor Swift with deadpan precision. The question Who is William Bowery? was, at the time we spoke, one of 2020’s great mysteries, right up there with the existence of Joe Exotic and the sudden arrival of murder hornets. An unknown writer credited on the year’s biggest album? It must be an alias.

Is he your brother?

“He’s William Bowery,” says Swift with a smile.

It's early November, after Election Day but before Swift eventually revealed Bowery's true identity to the world (the leading theory, that he was boyfriend Joe Alwyn, proved prescient). But, like all Swiftian riddles, it was fun to puzzle over for months, particularly in this hot mess of a year, when brief distractions are as comforting as a well-worn cardigan. Thankfully, the Bowery... erhm, Alwyn-assisted Folklore — a Swift project filled with muted pianos and whisper-quiet snares, recorded in secret with Jack Antonoff and the National’s Aaron Dessner — delivered.

“The only people who knew were the people I was making it with, my boyfriend, my family, and a small management team,” Swift, 30, tells EW of the album's hush-hush recording sessions. That gave the intimate Folklore a mystique all its own: the first surprise Taylor Swift album, one that prioritized fantastical tales over personal confessions.

“Early in quarantine, I started watching lots of films,” she explains. “Consuming other people’s storytelling opened this portal in my imagination and made me feel like, Why have I never created characters and intersecting storylines?” That’s how she ended up with three songs about an imagined love triangle (“Cardigan,” “Betty,” “August”), one about a clandestine romance (“Illicit Affairs”), and another chronicling a doomed relationship (“Exile”). Others tell of sumptuous real-life figures like Rebekah Harkness, a divorcee who married the heir to Standard Oil — and whose home Swift purchased 31 years after her death. The result, “The Last Great American Dynasty,” hones in on Harkness’ story, until Swift cleverly injects herself.

And yet, it wouldn’t be a Swift album without a few barbed postmortems over her own history. Notably, “My Tears Ricochet” and “Mad Woman," which touch on her former label head Scott Borchetta selling the masters to Swift’s catalog to her known nemesis Scooter Braun. Mere hours after our interview, the lyrics’ real-life origins took a surprising twist, when news broke that Swift’s music had once again been sold, to another private equity firm, for a reported $300 million. Though Swift ignored repeated requests for comment on the transaction, she did tweet a statement, hitting back at Braun while noting that she had begun re-recording her old albums — something she first promised in 2019 as a way of retaining agency over her creative legacy. (Later, she would tease a snippet of that reimagined work, with a new version of her hit 2008 single "Love Story.")

Like surprise-dropping Folklore, like pissing off the president by endorsing his opponents, like shooing away haters, Swift does what suits her. “I don’t think we often hear about women who did whatever the hell they wanted,” she says of Harkness — something Swift is clearly intent on changing. For her, that means basking in the world of, and favorable response to, Folklore. As she says in our interview, “I have this weird thing where, in order to create the next thing, I attack the previous thing. I don’t love that I do that, but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I still love it.”

ENTERTAINMENT WEEKLY: We’ve spent the year quarantined in our houses, trying to stay healthy and avoiding friends and family. Were you surprised by your ability to create and release a full album in the middle of a pandemic?

TAYLOR SWIFT: I was. I wasn't expecting to make an album. Early on in quarantine, I started watching lots of films. We would watch a different movie every night. I'm ashamed to say I hadn't seen Pan's Labyrinth before. One night I'd watch that, then I'd watch L.A. Confidential, then we'd watch Rear Window, then we'd watch Jane Eyre. I feel like consuming other people's art and storytelling sort of opened this portal in my imagination and made me feel like, "Well, why have I never done this before? Why have I never created characters and intersecting storylines? And why haven't I ever sort of freed myself up to do that from a narrative standpoint?" There is something a little heavy about knowing when you put out an album, people are going to take it so literally that everything you say could be clickbait. It was really, really freeing to be able to just be inspired by worlds created by the films you watch or books you've read or places you've dreamed of or people that you've wondered about, not just being inspired by your own experience.

In that vain, what's it like to sit down and write something like “Betty,” which is told from the perspective of a 17-year-old boy?

That was huge for me. And I think it came from the fact that my co-writer, William Bowery [Joe Alwyn], is male — and he was the one who originally thought of the chorus melody. And hearing him sing it, I thought, "That sounds really cool." Obviously, I don't have a male voice, but I thought, "I could have a male perspective." Patty Griffin wrote this song, “Top of the World.” It's one of my favorite songs of all time, and it's from the perspective of this older man who has lived a life full of regret, and he's kind of taking stock of that regret. So, I thought, "This is something that people I am a huge fan of have done. This would be fun to kind of take this for a spin."

What are your favorite William Bowery conspiracies?

I love them all individually and equally. I love all the conspiracy theories around this album. [With] "Betty," Jack Antonoff would text me these articles and think pieces and in-depth Tumblr posts on what this love triangle meant to the person who had listened to it. And that's exactly what I was hoping would happen with this album. I wrote these stories for a specific reason and from a specific place about specific people that I imagined, but I wanted that to all change given who was listening to it. And I wanted it to start out as mine and become other people's. It's been really fun to watch.

One of the other unique things about Folklore — the parameters around it were completely different from anything you'd done. There was no long roll out, no stadium-sized pop anthems, no aiming for the radio-friendly single. How fearful were you in avoiding what had worked in the past?

I didn't think about any of that for the very first time. And a lot of this album was kind of distilled down to the purest version of what the story is. Songwriting on this album is exactly the way that I would write if I considered nothing else other than, "What words do I want to write? What stories do I want to tell? What melodies do I want to sing? What production is essential to tell those stories?" It was a very do-it-yourself experience. My management team, we created absolutely everything in advance — every lyric video, every individual album package. And then we called our label a week in advance and said, "Here's what we have.” The photo shoot was me and the photographer walking out into a field. I'd done my hair and makeup and brought some nightgowns. These experiences I was used to having with 100 people on set, commanding alongside other people in a very committee fashion — all of a sudden it was me and a photographer, or me and my DP. It was a new challenge, because I love collaboration. But there's something really fun about knowing what you can do if it's just you doing it.

Did you find it freeing?

I did. Every project involves different levels of collaboration, because on other albums there are things that my stylist will think of that I never would've thought of. But if I had all those people on the photo shoot, I would've had to have them quarantine away from their families for weeks on end, and I would've had to ask things of them that I didn't think were fair if I could figure out a way to do it [myself]. I had this idea for the [Folklore album cover] that it would be this girl sleepwalking through the forest in a nightgown in 1830 [laughs]. Very specific. A pioneer woman sleepwalking at night. I made a moodboard and sent it to Beth [Garrabrant], who I had never worked with before, who shoots only on film. We were just carrying bags across a field and putting the bags of film down, and then taking pictures. It was a blast.

Folklore includes plenty of intimate acoustic echoes to what you've done in the past. But there are also a lot of new sonics here, too — these quiet, powerful, intricately layered harmonics. What was it like to receive the music from Aaron and try to write lyrics on top of it? 

Well, Aaron is one of the most effortlessly prolific creators I've ever worked with. It's really mind-blowing. And every time I've spoken to an artist since this whole process [began], I said, "You need to work with him. It'll change the way you create." He would send me these — he calls them sketches, but it's basically an instrumental track. the second day — the day after I texted him and said, "Hey, would you ever want to work together?" — he sent me this file of probably 30 of these instrumentals and every single one of them was one of the most interesting, exciting things I had ever heard. Music can be beautiful, but it can be lacking that evocative nature. There was something about everything he created that is an immediate image in my head or melody that I came up with. So much so that I'd start writing as soon as I heard a new one. And oftentimes what I would send back would inspire him to make more instrumentals and then send me that one. And then I wrote the song and it started to shape the project, form-fitted and customized to what we wanted to do.

It was weird because I had never made an album and not played it for my girlfriends or told my friends. The only people who knew were the people that I was making it with, my boyfriend, my family, and then my management team. So that's the smallest number of people I've ever had know about something. I'm usually playing it for everyone that I'm friends with. So I had a lot of friends texting me things like, "Why didn't you say on our everyday FaceTimes you were making a record?"

Was it nice to be able to keep it a secret?

Well, it felt like it was only my thing. It felt like such an inner world I was escaping to every day that it almost didn't feel like an album. Because I wasn't making a song and finishing it and going, "Oh my God, that is catchy.” I wasn't making these things with any purpose in mind. And so it was almost like having it just be mine was this really sweet, nice, pure part of the world as everything else in the world was burning and crashing and feeling this sickness and sadness. I almost didn't process it as an album. This was just my daydream space.

Does it still feel like that?

Yeah, because I love it so much. I have this weird thing that I do when I create something where in order to create the next thing I kind of, in my head, attack the previous thing. I don't love that I do that but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I just still love it. I'm so proud of it. And so that feels very foreign to me. That doesn't feel like a normal experience that I've had with releasing albums.

When did you first learn about Rebekah Harkness?

Oh, I learned about her as soon as I was being walked through [her former Rhode Island] home. I got the house when I was in my early twenties as a place for my family to congregate and be together. I was told about her, I think, by the real estate agent who was walking us through the property. And as soon as I found out about her, I wanted to know everything I could. So I started reading. I found her so interesting. And then as more parallels began to develop between our two lives — being the lady that lives in that house on the hill that everybody gets to gossip about — I was always looking for an opportunity to write about her. And I finally found it.

I love that you break the fourth wall in the song. Did you go in thinking you’d include yourself in the story?

I think that in my head, I always wanted to do a country music, standard narrative device, which is: the first verse you sing about someone else, the second verse you sing about someone else who's even closer to you, and then in the third verse, you go, "Surprise! It was me.” You bring it personal for the last verse. And I'd always thought that if I were to tell that story, I would want to include the similarities — our lives or our reputations or our scandals.

How often did you regale friends about the history of Rebekah and Holiday House while hanging out at Holiday House? 

Anyone who's been there before knows that I do “The Tour,” in quotes, where I show everyone through the house. And I tell them different anecdotes about each room, because I've done that much research on this house and this woman. So in every single room, there's a different anecdote about Rebekah Harkness. If you have a mixed group of people who've been there before and people who haven't, [the people who’ve been there] are like, "Oh, she's going to do the tour. She's got to tell you the story about how the ballerinas used to practice on the lawn.” And they'll go get a drink and skip it because it's the same every time. But for me, I'm telling the story with the same electric enthusiasm, because it's just endlessly entertaining to me that this fabulous woman lived there. She just did whatever she wanted.

There are a handful of songs on Folklore that feel like pretty clear nods to your personal life over the last year, including your relationships with Scott Borchetta and Scooter Braun. How long did it take to crystallize the feelings you had around both of them into “My Tears Ricochet” or “Mad Woman”?

I found myself being very triggered by any stories, movies, or narratives revolving around divorce, which felt weird because I haven't experienced it directly. There’s no reason it should cause me so much pain, but all of a sudden it felt like something I had been through. I think that happens any time you've been in a 15-year relationship and it ends in a messy, upsetting way. So I wrote “My Tears Ricochet” and I was using a lot of imagery that I had conjured up while comparing a relationship ending to when people end an actual marriage. All of a sudden this person that you trusted more than anyone in the world is the person that can hurt you the worst. Then all of a sudden the things that you have been through together, hurt. All of a sudden, the person who was your best friend is now your biggest nemesis, etc. etc. etc. I think I wrote some of the first lyrics to that song after watching Marriage Story and hearing about when marriages go wrong and end in such a catastrophic way. So these songs are in some ways imaginary, in some ways not, and in some ways both.

How did it feel to drop an F-bomb on "Mad Woman"?

F---ing fantastic.

And that’s the first time you ever recorded one on a record, right?

Yeah. Every rule book was thrown out. I always had these rules in my head and one of them was, You haven't done this before, so you can't ever do this. “Well, you've never had an explicit sticker, so you can't ever have an explicit sticker.” But that was one of the times where I felt like you need to follow the language and you need to follow the storyline. And if the storyline and the language match up and you end up saying the F-word, just go for it. I wasn't adhering to any of the guidelines that I had placed on myself. I decided to just make what I wanted to make. And I'm really happy that the fans were stoked about that because I think they could feel that. I'm not blaming anyone else for me restricting myself in the past. That was all, I guess, making what I want to make. I think my fans could feel that I opened the gate and ran out of the pasture for the first time, which I'm glad they picked up on because they're very intuitive.

Let’s talk about “Epiphany.” The first verse is a nod to your grandfather, Dean, who fought in World War II. What does his story mean to you personally? 

I wanted to write about him for awhile. He died when I was very young, but my dad would always tell this story that the only thing that his dad would ever say about the war was when somebody would ask him, "Why do you have such a positive outlook on life?" My grandfather would reply, "Well, I'm not supposed to be here. I shouldn't be here." My dad and his brothers always kind of imagined that what he had experienced was really awful and traumatic and that he'd seen a lot of terrible things. So when they did research, they learned that he had fought at the Battles of Guadalcanal, at Cape Gloucester, at Talasea, at Okinawa. He had seen a lot of heavy fire and casualties — all of the things that nightmares are made of. He was one of the first people to sign up for the war. But you know, these are things that you can only imagine that a lot of people in that generation didn't speak about because, a) they didn't want people that they came home to to worry about them, and b) it just was so bad that it was the actual definition of unspeakable.

That theme continues in the next verse, which is a pretty overt nod to what’s been happening during COVID. As someone who lives in Nashville, how difficult has it been to see folks on Lower Broadway crowding the bars without masks?

I mean, you just immediately think of the health workers who are putting their lives on the line — and oftentimes losing their lives. If they make it out of this, if they see the other side of it, there's going to be a lot of trauma that comes with that; there's going to be things that they witnessed that they will never be able to un-see. And that was the connection that I drew. I did a lot of research on my grandfather in the beginning of quarantine, and it hit me very quickly that we've got a version of that trauma happening right now in our hospitals. God, you hope people would respect it and would understand that going out for a night isn't worth the ripple effect that it causes. But obviously we're seeing that a lot of people don't seem to have their eyes open to that — or if they do, a lot of people don't care, which is upsetting.

You had the Lover Fest East and West scheduled this year. How hard has it been to both not perform for your fans this year, and see the music industry at large go through such a brutal change?

It's confusing. It's hard to watch. I think that maybe me wanting to make as much music as possible during this time was a way for me to feel like I could reach out my hand and touch my fans, even if I couldn't physically reach out or take a picture with them. We've had a lot of different, amazing, fun, sort of underground traditions we've built over the years that involve a lot of human interaction, and so I have no idea what's going to happen with touring; none of us do. And that's a scary thing. You can't look to somebody in the music industry who's been around a long time, or an expert touring manager or promoter and [ask] what's going to happen and have them give you an answer. I think we're all just trying to keep our eyes on the horizon and see what it looks like. So we're just kind of sitting tight and trying to take care of whatever creative spark might exist and trying to figure out how to reach our fans in other ways, because we just can't do that right now.

When you are able to perform again, do you have plans on resurfacing a Lover Fest-type event?

I don't know what incarnation it'll take and I really would need to sit down and think about it for a good solid couple of months before I figured out the answer. Because whatever we do, I want it to be something that is thoughtful and will make the fans happy and I hope I can achieve that. I'm going to try really hard to.

In addition to recording an album, you spent this year supporting Joe Biden and Kamala Harris in the election. Where were you when it was called in their favor? 

Well, when the results were coming in, I was actually at the property where we shot the Entertainment Weekly cover. I was hanging out with my photographer friend, Beth, and the wonderful couple that owned the farm where we [were]. And we realized really early into the night that we weren't going to get an accurate picture of the results. Then, a couple of days later, I was on a video shoot, but I was directing, and I was standing there with my face shield and mask on next to my director of photography, Rodrigo Prieto. And I just remember a news alert coming up on my phone that said, "Biden is our next president. He's won the election." And I showed it to Rodrigo and he said, "I'm always going to remember the moment that we learned this." And I looked around, and people's face shields were starting to fog up because a lot of people were really misty-eyed and emotional, and it was not loud. It wasn't popping bottles of champagne. It was this moment of quiet, cautious elation and relief.

Do you ever think about what Folklore would have sounded like if you, Aaron, and Jack had been in the same room?

I think about it all the time. I think that a lot of what has happened with the album has to do with us all being in a collective emotional place. Obviously everybody's lives have different complexities and whatnot, but I think most of us were feeling really shaken up and really out of place and confused and in need of something comforting all at the same time. And for me, that thing that was comforting was making music that felt sort of like I was trying to hug my fans through the speakers. That was truly my intent. Just trying to hug them when I can't hug them.

I wanted to talk about some of the lyrics on Folklore. One of my favorite pieces of wordplay is in “August”: that flip of "sipped away like a bottle of wine/slipped away like a moment in time.” Was there an "aha moment" for you while writing that?

I was really excited about "August slipped away into a moment of time/August sipped away like a bottle of wine." That was a song where Jack sent me the instrumental and I wrote the song pretty much on the spot; it just was an intuitive thing. And that was actually the first song that I wrote of the "Betty" triangle. So the Betty songs are "August," "Cardigan," and "Betty." "August" was actually the first one, which is strange because it's the song from the other girl's perspective.

Yeah, I assumed you wrote "Cardigan" first.

It would be safe to assume that "Cardigan" would be first, but it wasn't. It was very strange how it happened, but it kind of pieced together one song at a time, starting with "August," where I kind of wanted to explore the element of This is from the perspective of a girl who was having her first brush with love. And then all of a sudden she's treated like she's the other girl, because there was another situation that had already been in place, but "August" girl thought she was really falling in love. It kind of explores the idea of the undefined relationship. As humans, we're all encouraged to just be cool and just let it happen, and don't ask what the relationship is — Are we exclusive? But if you are chill about it, especially when you're young, you learn the very hard lesson that if you don't define something, oftentimes they can gaslight you into thinking it was nothing at all, and that it never happened. And how do you mourn the loss of something once it ends, if you're being made to believe that it never happened at all?

"I almost didn't process it as an album," says Taylor Swift of making Folklore. "And it's still hard for me to process as an entity or a commodity, because [it] was just my daydream space."

On the flip side, "Peace" is bit more defined in terms of how one approaches a relationship. There's this really striking line, "The devil's in the details, but you got a friend in me/Would it be enough if I can never give you peace?" How did that line come to you?

I'm really proud of that one too. I heard the track immediately. Aaron sent it to me, and it had this immediate sense of serenity running through it. The first word that popped into my head was peace, but I thought that it would be too on-the-nose to sing about being calm, or to sing about serenity, or to sing about finding peace with someone. Because you have this very conflicted, very dramatic conflict-written lyric paired with this very, very calming sound of the instrumental. But, "The devil's in the details," is one of those phrases that I've written down over the years. That's a common phrase that is used in the English language every day. And I just thought it sounded really cool because of the D, D sound. And I thought, "I'll hang onto those in a list, and then, I'll finally find the right place for them in a story." I think that's how a lot of people feel where it's like, "Yeah, the devil's in the details. Everybody's complex when you look under the hood of the car." But basically saying, "I'm there for you if you want that, if this complexity is what you want."

There's another clever turn-of-phrase on "This is Me Trying." "I didn't know if you'd care if I came back/I have a lot of regrets about that." That feels like a nod toward your fans, and some of the feelings you had about retreating from the public sphere.

Absolutely. I think I was writing from three different characters' perspectives, one who's going through that; I was channeling the emotions I was feeling in 2016, 2017, where I just felt like I was worth absolutely nothing. And then, the second verse is about dealing with addiction and issues with struggling every day. And every second of the day, you're trying not to fall into old patterns, and nobody around you can see that, and no one gives you credit for it. And then, the third verse, I was thinking, what would the National do? What lyric would Matt Berninger write? What chords would the National play? And it's funny because I've since played this song for Aaron, and he's like, "That's not what we would've done at all." He's like, "I love that song, but that's totally different than what we would've done with it."

When we last spoke, in April 2019, we were talking about albums we were listening to at the time and you professed your love for the National and I Am Easy to Find. Two months later, you met up with Aaron at their concert, and now, we're here talking about the National again.

Yeah, I was at the show where they were playing through I Am Easy to Find. What I loved about [that album] was they had female vocalists singing from female perspectives, and that triggered and fired something in me where I thought, "I've got to play with different perspectives because that is so intriguing when you hear a female perspective come in from a band where you're used to only hearing a male perspective." It just sparked something in me. And obviously, you mentioning the National is the reason why Folklore came to be. So, thank you for that, Alex.

I'm here for all of your songwriting muse needs in the future.

I can't wait to see what comes out of this interview.

This interview has been edited and condensed.

For more on our Entertainers of the Year and Best & Worst of 2020, order the January issue of Entertainment Weekly or find it on newsstands beginning Dec. 18. (You can also pick up the full set of six covers here.) Don’t forget to subscribe for more exclusive interviews and photos, only in EW.

#ew #entertainment weekly #article #interview #folklore promo #folklore interview #quote #aaron dessner #jack antonoff #joe alwyn

[sitp-recs]

Collapsed in Love by @tackytigerfic

Artwork by @bogglebeans

Harry/Draco (2020, Mature, 3.5k)

This close, it’s easier, with his face in Harry’s curls—smelling of smoke and sky from the night flight across London—and the long smooth stretch of Harry’s solid flank under his hand.

“Do you want to put some music on?” Harry asks, and his voice is slightly blurry with tiredness and the low dirty edge of desire as he shivers into Draco’s touch.

“No, it’s good,” Draco says. “Just… keep talking. I want to be able to hear you.”

He worries about Teddy all the time, especially since he started school, and Teddy, who’s been loved all his life and is confident that he always will be, has no compunction about being a little shit to the people who care about him. And Harry cares about him the most.

Happy Valentines Day! Haters will say I gave this fic the big spot because it was written for my birthday... and they would be right 💁🏻‍♀️ I still cannot grasp the idea of deserving such a precious gem, featuring one of my favorite tropes, written by one of my favorite people, but I got treated anyway and I will forever cherish this fic - which means making a decent rec for once, because I still wasn’t able to put my thoughts into words and write a comment on AO3, shame on me. 

Anyhoo forgive me if I’m biased but holy shit, this fic cured my depression. I wanna say you should definitely read Modern Love first, in order to learn these characters, their individual journeys and see how far they’ve come - and sure, the things that happen here will resonate deeper once you do - but if you have no time or energy to invest right now I say fuck it, you still deserve a nice treat on V-day and honestly, proposals don’t get any lovelier than this. I never cared much about this particular trope but after CiL I can say I’m sold and charmed af by the concept!

The first highlight aka the first thing that pulled at my heartstrings in this fic was Harry’s absolute and undeterred devotion towards Teddy, and the way Draco just... sees it and understands it. It’s such a wholesome experience to watch him watching Harry watching Teddy and vice-versa (omg the parallels with By the Grace, Tacky!) and to witness the layers of mutual care and reverence wrapping these characters’ lives together! The second highlight is Harry and Draco’s domestic routine, full of quiet intimacy and fond familiarity, they’re like old lovers coming together after a long, exhausting week. There’s so much trust and understanding dancing between them, both spoken and spoken, and it takes my breath away. Besides, sneaky Tacky knows that a casual conversation about Ron's good looks featuring possessive Harry and a helpless Draco defending himself was bound to put the biggest, stupidest smile on my face 😳

Finally, the proposal! I love how it’s both casual and meaningful and so them - from the setting to the dialogue to the choice of ring (perfection!!), the scene screamed not only Draco and Harry, but this Draco and this Harry (seriously, go read ML first) and it gave this universe and the characters we met and love a perfect closure (let’s not use this word yet, I am not done with the ML verse!). So thank you Tacky for writing a 3k established romance and still giving me a lump in the throat and an ugly crying face on my own birthday, you horror. We were all lucky to get more of the magical little universe you created, now with this gorgeous sequence of slice-of-life vignettes. I’m honored to be the recipient of such a powerful, honest and touching love story, which happens to be the sequel of one of my all-time favorite fics! Like @the-starryknight​ said, you are SHORT FORM ROYALTY!

There, hopefully this Valentines card to Tacky made up for the lack of a comment 2 months later. Can we also take a minute to discuss the gorgeous and delicate artwork @bogglebeans​ did to go with the fic? I don’t know how BB guessed that this greyish tone of blue is one of my favorites but this was perfectly crafted to meet my aesthetics and I hate that I had to crop it to fit into the banner format, but you can see the full original here. To anyone else: go read this right now!

Read on AO3

#drarry #drarry fic rec #established relationship #proposals #modern love verse #the wonderful tacky #fave

[path-of-my-childhood]

Taylor Swift Broke All Her Rules With Folklore - And Gave Herself A Much-Needed Escape

By: Alex Suskind for Entertainment Weekly Date: December 8th 2020 (EW's 2020 Entertainers of the Year cover)

The pop star, one of EW's 2020 Entertainers of the Year, delves deep into her surprise eighth album, Rebekah Harkness, and a Joe Biden presidency.

“He is my co-writer on ‛Betty’ and ‛Exile,’” replies Taylor Swift with deadpan precision. The question Who is William Bowery? was, at the time we spoke, one of 2020’s great mysteries, right up there with the existence of Joe Exotic and the sudden arrival of murder hornets. An unknown writer credited on the year’s biggest album? It must be an alias.

Is he your brother?

“He’s William Bowery,” says Swift with a smile.

It's early November, after Election Day but before Swift eventually revealed Bowery's true identity to the world (the leading theory, that he was boyfriend Joe Alwyn, proved prescient). But, like all Swiftian riddles, it was fun to puzzle over for months, particularly in this hot mess of a year, when brief distractions are as comforting as a well-worn cardigan. Thankfully, the Bowery... erhm, Alwyn-assisted Folklore - a Swift project filled with muted pianos and whisper-quiet snares, recorded in secret with Jack Antonoff and the National’s Aaron Dessner - delivered.

“The only people who knew were the people I was making it with, my boyfriend, my family, and a small management team,” Swift, 30, tells EW of the album's hush-hush recording sessions. That gave the intimate Folklore a mystique all its own: the first surprise Taylor Swift album, one that prioritized fantastical tales over personal confessions.

“Early in quarantine, I started watching lots of films,” she explains. “Consuming other people’s storytelling opened this portal in my imagination and made me feel like, Why have I never created characters and intersecting storylines?” That’s how she ended up with three songs about an imagined love triangle (“Cardigan,” “Betty,” “August”), one about a clandestine romance (“Illicit Affairs”), and another chronicling a doomed relationship (“Exile”). Others tell of sumptuous real-life figures like Rebekah Harkness, a divorcee who married the heir to Standard Oil - and whose home Swift purchased 31 years after her death. The result, “The Last Great American Dynasty,” hones in on Harkness’ story, until Swift cleverly injects herself.

And yet, it wouldn’t be a Swift album without a few barbed postmortems over her own history. Notably, “My Tears Ricochet” and “Mad Woman," which touch on her former label head Scott Borchetta selling the masters to Swift’s catalog to her known nemesis Scooter Braun. Mere hours after our interview, the lyrics’ real-life origins took a surprising twist, when news broke that Swift’s music had once again been sold, to another private equity firm, for a reported $300 million. Though Swift ignored repeated requests for comment on the transaction, she did tweet a statement, hitting back at Braun while noting that she had begun re-recording her old albums - something she first promised in 2019 as a way of retaining agency over her creative legacy. (Later, she would tease a snippet of that reimagined work, with a new version of her hit 2008 single "Love Story.")

Like surprise-dropping Folklore, like pissing off the president by endorsing his opponents, like shooing away haters, Swift does what suits her. “I don’t think we often hear about women who did whatever the hell they wanted,” she says of Harkness - something Swift is clearly intent on changing. For her, that means basking in the world of, and favorable response to, Folklore. As she says in our interview, “I have this weird thing where, in order to create the next thing, I attack the previous thing. I don’t love that I do that, but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I still love it.”

ENTERTAINMENT WEEKLY: We’ve spent the year quarantined in our houses, trying to stay healthy and avoiding friends and family. Were you surprised by your ability to create and release a full album in the middle of a pandemic? TAYLOR SWIFT: I was. I wasn't expecting to make an album. Early on in quarantine, I started watching lots of films. We would watch a different movie every night. I'm ashamed to say I hadn't seen Pan's Labyrinth before. One night I'd watch that, then I'd watch L.A. Confidential, then we'd watch Rear Window, then we'd watch Jane Eyre. I feel like consuming other people's art and storytelling sort of opened this portal in my imagination and made me feel like, "Well, why have I never done this before? Why have I never created characters and intersecting storylines? And why haven't I ever sort of freed myself up to do that from a narrative standpoint?" There is something a little heavy about knowing when you put out an album, people are going to take it so literally that everything you say could be clickbait. It was really, really freeing to be able to just be inspired by worlds created by the films you watch or books you've read or places you've dreamed of or people that you've wondered about, not just being inspired by your own experience.

In that vein, what's it like to sit down and write something like “Betty,” which is told from the perspective of a 17-year-old boy? That was huge for me. And I think it came from the fact that my co-writer, William Bowery [Joe Alwyn], is male — and he was the one who originally thought of the chorus melody. And hearing him sing it, I thought, "That sounds really cool." Obviously, I don't have a male voice, but I thought, "I could have a male perspective." Patty Griffin wrote this song, “Top of the World.” It's one of my favorite songs of all time, and it's from the perspective of this older man who has lived a life full of regret, and he's kind of taking stock of that regret. So, I thought, "This is something that people I am a huge fan of have done. This would be fun to kind of take this for a spin."

What are your favorite William Bowery conspiracies? I love them all individually and equally. I love all the conspiracy theories around this album. [With] "Betty," Jack Antonoff would text me these articles and think pieces and in-depth Tumblr posts on what this love triangle meant to the person who had listened to it. And that's exactly what I was hoping would happen with this album. I wrote these stories for a specific reason and from a specific place about specific people that I imagined, but I wanted that to all change given who was listening to it. And I wanted it to start out as mine and become other people's. It's been really fun to watch.

One of the other unique things about Folklore — the parameters around it were completely different from anything you'd done. There was no long roll out, no stadium-sized pop anthems, no aiming for the radio-friendly single. How fearful were you in avoiding what had worked in the past? I didn't think about any of that for the very first time. And a lot of this album was kind of distilled down to the purest version of what the story is. Songwriting on this album is exactly the way that I would write if I considered nothing else other than, "What words do I want to write? What stories do I want to tell? What melodies do I want to sing? What production is essential to tell those stories?" It was a very do-it-yourself experience. My management team, we created absolutely everything in advance — every lyric video, every individual album package. And then we called our label a week in advance and said, "Here's what we have.” The photo shoot was me and the photographer walking out into a field. I'd done my hair and makeup and brought some nightgowns. These experiences I was used to having with 100 people on set, commanding alongside other people in a very committee fashion — all of a sudden it was me and a photographer, or me and my DP. It was a new challenge, because I love collaboration. But there's something really fun about knowing what you can do if it's just you doing it.

Did you find it freeing? I did. Every project involves different levels of collaboration, because on other albums there are things that my stylist will think of that I never would've thought of. But if I had all those people on the photo shoot, I would've had to have them quarantine away from their families for weeks on end, and I would've had to ask things of them that I didn't think were fair if I could figure out a way to do it [myself]. I had this idea for the [Folklore album cover] that it would be this girl sleepwalking through the forest in a nightgown in 1830 [laughs]. Very specific. A pioneer woman sleepwalking at night. I made a moodboard and sent it to Beth [Garrabrant], who I had never worked with before, who shoots only on film. We were just carrying bags across a field and putting the bags of film down, and then taking pictures. It was a blast.

Folklore includes plenty of intimate acoustic echoes to what you've done in the past. But there are also a lot of new sonics here, too — these quiet, powerful, intricately layered harmonics. What was it like to receive the music from Aaron and try to write lyrics on top of it? Well, Aaron is one of the most effortlessly prolific creators I've ever worked with. It's really mind-blowing. And every time I've spoken to an artist since this whole process [began], I said, "You need to work with him. It'll change the way you create." He would send me these — he calls them sketches, but it's basically an instrumental track. the second day — the day after I texted him and said, "Hey, would you ever want to work together?" — he sent me this file of probably 30 of these instrumentals and every single one of them was one of the most interesting, exciting things I had ever heard. Music can be beautiful, but it can be lacking that evocative nature. There was something about everything he created that is an immediate image in my head or melody that I came up with. So much so that I'd start writing as soon as I heard a new one. And oftentimes what I would send back would inspire him to make more instrumentals and then send me that one. And then I wrote the song and it started to shape the project, form-fitted and customized to what we wanted to do.

It was weird because I had never made an album and not played it for my girlfriends or told my friends. The only people who knew were the people that I was making it with, my boyfriend, my family, and then my management team. So that's the smallest number of people I've ever had know about something. I'm usually playing it for everyone that I'm friends with. So I had a lot of friends texting me things like, "Why didn't you say on our everyday FaceTimes you were making a record?"

Was it nice to be able to keep it a secret? Well, it felt like it was only my thing. It felt like such an inner world I was escaping to every day that it almost didn't feel like an album. Because I wasn't making a song and finishing it and going, "Oh my God, that is catchy.” I wasn't making these things with any purpose in mind. And so it was almost like having it just be mine was this really sweet, nice, pure part of the world as everything else in the world was burning and crashing and feeling this sickness and sadness. I almost didn't process it as an album. This was just my daydream space.

Does it still feel like that? Yeah, because I love it so much. I have this weird thing that I do when I create something where in order to create the next thing I kind of, in my head, attack the previous thing. I don't love that I do that but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I just still love it. I'm so proud of it. And so that feels very foreign to me. That doesn't feel like a normal experience that I've had with releasing albums.

When did you first learn about Rebekah Harkness? Oh, I learned about her as soon as I was being walked through [her former Rhode Island] home. I got the house when I was in my early twenties as a place for my family to congregate and be together. I was told about her, I think, by the real estate agent who was walking us through the property. And as soon as I found out about her, I wanted to know everything I could. So I started reading. I found her so interesting. And then as more parallels began to develop between our two lives — being the lady that lives in that house on the hill that everybody gets to gossip about — I was always looking for an opportunity to write about her. And I finally found it.

I love that you break the fourth wall in the song. Did you go in thinking you’d include yourself in the story? I think that in my head, I always wanted to do a country music, standard narrative device, which is: the first verse you sing about someone else, the second verse you sing about someone else who's even closer to you, and then in the third verse, you go, "Surprise! It was me.” You bring it personal for the last verse. And I'd always thought that if I were to tell that story, I would want to include the similarities — our lives or our reputations or our scandals.

How often did you regale friends about the history of Rebekah and Holiday House while hanging out at Holiday House? Anyone who's been there before knows that I do “The Tour,” in quotes, where I show everyone through the house. And I tell them different anecdotes about each room, because I've done that much research on this house and this woman. So in every single room, there's a different anecdote about Rebekah Harkness. If you have a mixed group of people who've been there before and people who haven't, [the people who’ve been there] are like, "Oh, she's going to do the tour. She's got to tell you the story about how the ballerinas used to practice on the lawn.” And they'll go get a drink and skip it because it's the same every time. But for me, I'm telling the story with the same electric enthusiasm, because it's just endlessly entertaining to me that this fabulous woman lived there. She just did whatever she wanted.

There are a handful of songs on Folklore that feel like pretty clear nods to your personal life over the last year, including your relationships with Scott Borchetta and Scooter Braun. How long did it take to crystallize the feelings you had around both of them into “My Tears Ricochet” or “Mad Woman”? I found myself being very triggered by any stories, movies, or narratives revolving around divorce, which felt weird because I haven't experienced it directly. There’s no reason it should cause me so much pain, but all of a sudden it felt like something I had been through. I think that happens any time you've been in a 15-year relationship and it ends in a messy, upsetting way. So I wrote “My Tears Ricochet” and I was using a lot of imagery that I had conjured up while comparing a relationship ending to when people end an actual marriage. All of a sudden this person that you trusted more than anyone in the world is the person that can hurt you the worst. Then all of a sudden the things that you have been through together, hurt. All of a sudden, the person who was your best friend is now your biggest nemesis, etc. etc. etc. I think I wrote some of the first lyrics to that song after watching Marriage Story and hearing about when marriages go wrong and end in such a catastrophic way. So these songs are in some ways imaginary, in some ways not, and in some ways both.

How did it feel to drop an F-bomb on "Mad Woman"? F---ing fantastic.

And that’s the first time you ever recorded one on a record, right? Yeah. Every rule book was thrown out. I always had these rules in my head and one of them was, You haven't done this before, so you can't ever do this. “Well, you've never had an explicit sticker, so you can't ever have an explicit sticker.” But that was one of the times where I felt like you need to follow the language and you need to follow the storyline. And if the storyline and the language match up and you end up saying the F-word, just go for it. I wasn't adhering to any of the guidelines that I had placed on myself. I decided to just make what I wanted to make. And I'm really happy that the fans were stoked about that because I think they could feel that. I'm not blaming anyone else for me restricting myself in the past. That was all, I guess, making what I want to make. I think my fans could feel that I opened the gate and ran out of the pasture for the first time, which I'm glad they picked up on because they're very intuitive.

Let’s talk about “Epiphany.” The first verse is a nod to your grandfather, Dean, who fought in World War II. What does his story mean to you personally? I wanted to write about him for awhile. He died when I was very young, but my dad would always tell this story that the only thing that his dad would ever say about the war was when somebody would ask him, "Why do you have such a positive outlook on life?" My grandfather would reply, "Well, I'm not supposed to be here. I shouldn't be here." My dad and his brothers always kind of imagined that what he had experienced was really awful and traumatic and that he'd seen a lot of terrible things. So when they did research, they learned that he had fought at the Battles of Guadalcanal, at Cape Gloucester, at Talasea, at Okinawa. He had seen a lot of heavy fire and casualties — all of the things that nightmares are made of. He was one of the first people to sign up for the war. But you know, these are things that you can only imagine that a lot of people in that generation didn't speak about because, a) they didn't want people that they came home to to worry about them, and b) it just was so bad that it was the actual definition of unspeakable.

That theme continues in the next verse, which is a pretty overt nod to what’s been happening during COVID. As someone who lives in Nashville, how difficult has it been to see folks on Lower Broadway crowding the bars without masks? I mean, you just immediately think of the health workers who are putting their lives on the line — and oftentimes losing their lives. If they make it out of this, if they see the other side of it, there's going to be a lot of trauma that comes with that; there's going to be things that they witnessed that they will never be able to un-see. And that was the connection that I drew. I did a lot of research on my grandfather in the beginning of quarantine, and it hit me very quickly that we've got a version of that trauma happening right now in our hospitals. God, you hope people would respect it and would understand that going out for a night isn't worth the ripple effect that it causes. But obviously we're seeing that a lot of people don't seem to have their eyes open to that — or if they do, a lot of people don't care, which is upsetting.

You had the Lover Fest East and West scheduled this year. How hard has it been to both not perform for your fans this year, and see the music industry at large go through such a brutal change? It's confusing. It's hard to watch. I think that maybe me wanting to make as much music as possible during this time was a way for me to feel like I could reach out my hand and touch my fans, even if I couldn't physically reach out or take a picture with them. We've had a lot of different, amazing, fun, sort of underground traditions we've built over the years that involve a lot of human interaction, and so I have no idea what's going to happen with touring; none of us do. And that's a scary thing. You can't look to somebody in the music industry who's been around a long time, or an expert touring manager or promoter and [ask] what's going to happen and have them give you an answer. I think we're all just trying to keep our eyes on the horizon and see what it looks like. So we're just kind of sitting tight and trying to take care of whatever creative spark might exist and trying to figure out how to reach our fans in other ways, because we just can't do that right now.

When you are able to perform again, do you have plans on resurfacing a Lover Fest-type event? I don't know what incarnation it'll take and I really would need to sit down and think about it for a good solid couple of months before I figured out the answer. Because whatever we do, I want it to be something that is thoughtful and will make the fans happy and I hope I can achieve that. I'm going to try really hard to.

In addition to recording an album, you spent this year supporting Joe Biden and Kamala Harris in the election. Where were you when it was called in their favor? Well, when the results were coming in, I was actually at the property where we shot the Entertainment Weekly cover. I was hanging out with my photographer friend, Beth, and the wonderful couple that owned the farm where we [were]. And we realized really early into the night that we weren't going to get an accurate picture of the results. Then, a couple of days later, I was on a video shoot, but I was directing, and I was standing there with my face shield and mask on next to my director of photography, Rodrigo Prieto. And I just remember a news alert coming up on my phone that said, "Biden is our next president. He's won the election." And I showed it to Rodrigo and he said, "I'm always going to remember the moment that we learned this." And I looked around, and people's face shields were starting to fog up because a lot of people were really misty-eyed and emotional, and it was not loud. It wasn't popping bottles of champagne. It was this moment of quiet, cautious elation and relief.

Do you ever think about what Folklore would have sounded like if you, Aaron, and Jack had been in the same room? I think about it all the time. I think that a lot of what has happened with the album has to do with us all being in a collective emotional place. Obviously everybody's lives have different complexities and whatnot, but I think most of us were feeling really shaken up and really out of place and confused and in need of something comforting all at the same time. And for me, that thing that was comforting was making music that felt sort of like I was trying to hug my fans through the speakers. That was truly my intent. Just trying to hug them when I can't hug them.

I wanted to talk about some of the lyrics on Folklore. One of my favorite pieces of wordplay is in “August”: that flip of "sipped away like a bottle of wine/slipped away like a moment in time.” Was there an "aha moment" for you while writing that? I was really excited about "August slipped away into a moment of time/August sipped away like a bottle of wine." That was a song where Jack sent me the instrumental and I wrote the song pretty much on the spot; it just was an intuitive thing. And that was actually the first song that I wrote of the "Betty" triangle. So the Betty songs are "August," "Cardigan," and "Betty." "August" was actually the first one, which is strange because it's the song from the other girl's perspective.

Yeah, I assumed you wrote "Cardigan" first. It would be safe to assume that "Cardigan" would be first, but it wasn't. It was very strange how it happened, but it kind of pieced together one song at a time, starting with "August," where I kind of wanted to explore the element of This is from the perspective of a girl who was having her first brush with love. And then all of a sudden she's treated like she's the other girl, because there was another situation that had already been in place, but "August" girl thought she was really falling in love. It kind of explores the idea of the undefined relationship. As humans, we're all encouraged to just be cool and just let it happen, and don't ask what the relationship is — Are we exclusive? But if you are chill about it, especially when you're young, you learn the very hard lesson that if you don't define something, oftentimes they can gaslight you into thinking it was nothing at all, and that it never happened. And how do you mourn the loss of something once it ends, if you're being made to believe that it never happened at all?

On the flip side, "Peace" is bit more defined in terms of how one approaches a relationship. There's this really striking line, "The devil's in the details, but you got a friend in me/Would it be enough if I can never give you peace?" How did that line come to you? I'm really proud of that one too. I heard the track immediately. Aaron sent it to me, and it had this immediate sense of serenity running through it. The first word that popped into my head was peace, but I thought that it would be too on-the-nose to sing about being calm, or to sing about serenity, or to sing about finding peace with someone. Because you have this very conflicted, very dramatic conflict-written lyric paired with this very, very calming sound of the instrumental. But, "The devil's in the details," is one of those phrases that I've written down over the years. That's a common phrase that is used in the English language every day. And I just thought it sounded really cool because of the D, D sound. And I thought, "I'll hang onto those in a list, and then, I'll finally find the right place for them in a story." I think that's how a lot of people feel where it's like, "Yeah, the devil's in the details. Everybody's complex when you look under the hood of the car." But basically saying, "I'm there for you if you want that, if this complexity is what you want."

There's another clever turn of phrase on "This is Me Trying." "I didn't know if you'd care if I came back/I have a lot of regrets about that." That feels like a nod toward your fans, and some of the feelings you had about retreating from the public sphere. Absolutely. I think I was writing from three different characters' perspectives, one who's going through that; I was channeling the emotions I was feeling in 2016, 2017, where I just felt like I was worth absolutely nothing. And then, the second verse is about dealing with addiction and issues with struggling every day. And every second of the day, you're trying not to fall into old patterns, and nobody around you can see that, and no one gives you credit for it. And then, the third verse, I was thinking, what would the National do? What lyric would Matt Berninger write? What chords would the National play? And it's funny because I've since played this song for Aaron, and he's like, "That's not what we would've done at all." He's like, "I love that song, but that's totally different than what we would've done with it."

When we last spoke, in April 2019, we were talking about albums we were listening to at the time and you professed your love for the National and I Am Easy to Find. Two months later, you met up with Aaron at their concert, and now, we're here talking about the National again. Yeah, I was at the show where they were playing through I Am Easy to Find. What I loved about [that album] was they had female vocalists singing from female perspectives, and that triggered and fired something in me where I thought, "I've got to play with different perspectives because that is so intriguing when you hear a female perspective come in from a band where you're used to only hearing a male perspective." It just sparked something in me. And obviously, you mentioning the National is the reason why Folklore came to be. So, thank you for that, Alex.

I'm here for all of your songwriting muse needs in the future. I can't wait to see what comes out of this interview.

*** For more on our Entertainers of the Year and Best & Worst of 2020, order the January issue of Entertainment Weekly or find it on newsstands beginning Dec. 18. (You can also pick up the full set of six covers here.) Don’t forget to subscribe for more exclusive interviews and photos, only in EW.

#taylor swift #interview #entertainment weekly #folklore album #folklore era #video

[shefanispeculator]

I'm slightly disappointed to log onto Zoom and find Gwen Stefani in Los Angeles. I wanted to see the ranch. Stefani spent most of the pandemic in Oklahoma with her fiancé and fellow The Voice coach Blake Shelton, with whom she has recently collaborated on a string of country radio hits, alongside a kitsch Christmas song. For a ska-pop superstar, it's a pivot, but Stefani and Shelton are cute together — picture-perfect in their opposite attraction.

Country Gwen exists, her urban counterpart assures me, but on this particular MacBook she's nowhere to be seen. I'm not sure what crude regional stereotypes I was expecting (Stefani spitting sunflower seeds? Shelton line dancing in the background?) but I get Californian sunshine instead, illuminating a version of Stefani more familiar from my teenage years, when Love. Angel. Music. Baby and its follow-up The Sweet Escape spawned millions of fans, haters and imitators. She's platinum blonde, red lipsticked and wearing a black-and-white outfit that matches the decor. The checkerboard pattern can be traced back to an even earlier era, when Stefani and her No Doubt bandmates were '80s teenagers obsessed with two-tone acts like Madness and The Specials.

Cowboy boots wouldn't fit this picture, and nor would Stefani's glitzy showgirl outfits from The Voice, where she just wrapped another season as a celebrity coach. As she prepares to release her fourth solo record, and enters the fifth decade of an extraordinarily successful music career, Gwen Stefani is re-re-branding as... Gwen Stefani.

Top: Local Boogeyman, Pants: GCDS, Shoes: Valentino, Earrings, bracelets and rings: Dena Kemp (The Residency Experience), Necklaces: Gwen's own, Engagement ring: Gwen's own

"But what is that?" Stefani asks with seriousness, as we consider the possibility of some essential, inherent Gwen. "Everyone's interpretation of what I am and how I sing, I mean, that's what this era is about for me."

Said era kicked off late last year, with the music video for "Let Me Reintroduce Myself." It saw Stefani playfully revisit the wardrobes of album cycles past, from the ab-bearing tomboy tank tops of "Hollaback Girl" to the club kid blue hair mascara of '90s No Doubt. Her Harajuku Girls also make a return. The entire visual is a huge flex, not only for the sheer volume of iconic career moments recreated in dutiful detail, but the fact Stefani can still fit into the clothes originally worn during all of them. She looks eerily the same, frighteningly good, ageing in reverse at the same pace as her frequent collaborator Pharrell.

"It's really a blessing to be able to have such a long career, where there really is nothing to prove anymore."

Pop stars are expected to be young forever, in looks but also in their capacity to innovate new trends. Which makes the nostalgic music video a curious choice. Doesn't Stefani know by now that the cardinal rule of pop is to avoid repeating yourself? That even the hottest artists in the world are basically required by law to create completely new eras from scratch every six months in order to appease fans and maintain maximum TikTok-ready relevance?

Of course she does, but that doesn't mean she has to participate. Stefani isn't trying to chase down her contemporaries, despite clearly possessing the physical fitness required. "It's really a blessing to be able to have such a long career, where there really is nothing to prove anymore," she says. "It's a different energy. You know, it's really just about doing it to do it, as opposed to trying to make a statement or make a mark."

Corset: Ronald van der Kemp, Bracelets: Dena Kemp (The Residency Experience), Earrings: Lana Jewelry (The Residency Experience), Engagement ring: Gwen's own

Even the Saweetie remix of her latest single "Slow Clap" happened on a whim, after the younger artist happened to post a video of herself vibing to Stefani's 2004 single "Luxurious" on Instagram Stories. They knocked out the song and accompanying video in a day. Neither seems bothered by the Old Navy meme. "It was just this little video that we did on the fly," Stefani says. "It just happened. It just feels good to put new stuff out there."

Stefani completed a two-year Vegas greatest hits residency in 2019, which gave her a sense of perspective on her own legacy. "You make a new record because that's what is exciting for you," she says. "But people really just want to hear the records after a while that were the backdrop to their lives, a 'Don't Speak' or a 'Just a Girl' or a 'Hollaback Girl,' or whatever it was for them. So, you know, it's hard — you can only be new when you're new, and that's just the truth, and I know that."

She says she was pleasantly surprised that "Let Me Reintroduce Myself" charted at all, and that she only found out it did when Shelton walked into the kitchen to show her the iTunes numbers. "I burst out crying with joy, because it was like, 'Whoa, really?' I think I'd set myself up to be quite realistic about where I'm at."

Stefani, endlessly polite and self-deprecating in conversation, which on her end mostly consists of endearingly earnest run-on monologues, says she still has "tons" of insecurities. I get the impression she has been trying harder to give herself credit lately. She recalls recently hearing Cyndi Lauper's "Girls Just Want to Have Fun" on the car radio and finding herself in awe of the song's timeless catchiness.

Suit: Balmain, Earrings and choker: Lana Jewelry (The Residency Experience), Necklaces: Gwen's own

"But then I started thinking," she says, in a goofy Cher Horowitz tone. "Like, I have a few of those myself." She talks of this realization as a genuine breakthrough, which is a little worrying for a woman who has sold 40 million records. No shit, she has a "few of those." More of them than Lauper, actually.

More new music is coming along slowly, but I've caught Stefani on a day when the horizon looks closer than usual, and while things haven't quite fallen into place yet, she's feeling more confident that they eventually will. "I'm at the end," she declares. "The idea of going for a session and not being with my kids or the idea of taking time away from Blake doesn't fuel my fire like it did two months ago. I need to decide, wrap it up, put out the project."

Crucially, there's no rush. The album will simply arrive sometime this year, tracklist and title currently undecided.

"You're talking to me at a weird transitional time," Stefani says repeatedly throughout our conversation, which sometimes takes on the cathartic tone of therapy. But having time in the first place is a new feeling.

Bracelet and choker: Dana Kemp (The Residency Experience), Obsession necklace: Lidow Archive, Gold necklaces: Gwen's own, Clothing: Blumarine, Boots: Philipp Plein

NO DOUBT WERE A BAND for nine years before getting on the radio. Enough time for Stefani and bassist Tony Kanal to be in a long term relationship then break up and write a whole hit album about it. All of the Fleetwood Mac drama was resolved pre-fame, which enabled the group to capitalize on the surprise success of Tragic Kingdom singles like "Don't Speak" and "Just a Girl" with a world tour that lasted almost three years. Three more albums followed, and Stefani has reinforced her household name status in every decade since, launching a solo career and multiple fashion lines while never totally cutting the cord from her original musical project.

In other words, record executives have been dictating Stefani's schedule since the mid-'90s. She even sings about it on Love. Angel. Music. Baby opener "What You Waiting For," in which her biological clock ticks like a metronome. Interscope Co-Founder Jimmy Iovine, who discovered No Doubt and continued to work with Stefani on her solo output, was quick to point out that his client's prime childbearing years were also her last opportunity to cross over into pop stardom. And after her first record went number one, it only made sense to lay down some new tracks straight away.

"Whether or not I get the response that I would hope to get — because that's what I'm used to, because I'm so damn spoiled and I've tasted the blood of success — I still got to do the creative journey."

"I had the baby, the first one, and it was only like eight weeks after I had him, that Jimmy was calling me saying, you've got to go in the studio with Akon," Stefani recalls cheerfully. "Like, Akon wants to work with you. Like, no, I'm nursing my baby. But then I couldn't say no." And then? "We wrote 'Sweet Escape.'" And then? "I went on a world tour." And then? "In the month that I got home from that one hundred and whatever shows it was, I got pregnant with Zuma. So then that was that." (It wasn't. Admittedly: "Then it was like, No Doubt, let's do another record.")

Things are different now: "You can just drop singles and you don't have to put a record out. But if you want to put a record out, you can work on it slowly." But even as she talks of slowing down, speculating that she might not even go on tour after the pandemic ends, in the next sentence Stefani's back to admitting that there's more work to be done, that she wants to write a couple more songs for her new record, "just to make sure."

Earrings: Lana Jewelry (The Residency Experience) Choker: Chanel, Necklaces: Gwen's own, Gloves: Laurel DeWitt, Top: Local Boogeyman

"The creation is the thing that fuels me so much," she says. "Whether or not I get the response that I would hope to get — because that's what I'm used to, because I'm so damn spoiled and I've tasted the blood of success — I still got to do the creative journey."

Like any good lyricist, she reaches out to her listener, hoping to convey a more universal point. "It's just probably the same for you as a writer," she guesses. "You know, it's the anticipation. You're in it now. You're getting the information. This is what you live for. You're doing the interview and then you're going to write it. And that's going to be the challenge."

GWEN STEFANI WAS PUTTING out diary entry pop when Olivia Rodrigo was still in diapers and Taylor Swift was but a humble Pennsylvania Christmas tree heiress. She struggles to pen lyrics that aren't confessional ("I'm not a creative writer when it comes to like, 'Oh, let's just write a sad song about something that didn't happen to me'"), and occasionally re-traumatizes herself when performing old hits. Return of Saturn deep cut "Dark Blue" triggers "crazy, just horrible" recollections of a past relationship. Even "Don't Speak" felt emotional onstage in Vegas.

But after releasing an excruciating divorce album, This Is What the Truth Feels Like, in 2016, Stefani is back to writing happy songs only. She's getting married, after all. She won't be releasing any of her trademark breakup anthems anytime soon. "Girl," she laughs, "I think I've had my fair share."

Bow: Laurel DeWitt, Earrings: Lana Jewelry (The Residency Experience), Bracelets: Dena Kemp (The Residency Experience), Shirt: Vintage Archive, Dress: Erdem, Tights: Capezio, Shoes: Marc Jacobs (Lidow Archive)

Stefani and Shelton's relationship has puzzled some fans. Shelton, a country radio phenomenon, never endorsed Trump in the 2016 election, but he did come close. Earlier this year, he was criticized for releasing a song called "Minimum Wage," about finding small joys during periods of economic struggle, at the peak of a recession.

Is Gwen Stefani a Republican now? She's not offended by the question, or really anything I have to ask. She has been famous for so long that she expects and even embraces scrutiny. "If you're going to be a star, that's what you get," she says. "You know what I mean? You get what you get, and you don't get upset, at all."

As for her politics, it's read-between-the-lines."I can see how people would be curious, but I think it's pretty obvious who I am," she says. "I've been around forever. I started my band because we were really influenced by ska, which was a movement that happened in the late '70s, and it was really all about people coming together. The first song I ever wrote was a song called 'Different People,' which was on the Obama playlist, you know, a song about everyone being different and being the same and loving each other. The very first song I wrote."

One of very few multi-racial bands playing stadium shows for hoardes of American teenangers in the 1990s, No Doubt did very literally embody those second-wave ska principles of inclusion. Stefani even wore bindis and saris on stage as a symbol of cultural exchange with Kanal, who is Indian-American, briefly kickstarting a white girl facial jewelry trend that it's safe to say would not fly in 2021.

Rings (left): Dena Kemp (The Residency Experience)

"The Specials and The Selecter and all those groups, and what they were doing in the late '70s was this whole kind of anti-racism, we come together, Black and white ska movement," Stefani elaborates on the band's founding principles. "And we were sort of echoing that in the '80s when we did it, we were like the third generation of ska."

Ska she's always happy to discuss, but Stefani was brought up to keep her electoral preferences personal, and that rule has held for her entire career. "The whole point of voting, is you have this personal space to feel how you feel," she explains. "I use my platform to share my life story and to engage with people and to exchange whatever gift I was giving. I'm not a political science major. I am not that person. Everyone knows that. So why would I even talk about it?"

"I don't need to go on Instagram and say 'girl power.' I just need to live and be a good person and leave a trail of greatness behind me."

It never has been. Looking back, it's weird that "Just a Girl" is so integral to Gwen Stefani's brand. She's never written anything else with remotely the same message, and or publicly identified as a feminist. To Stefani, it's just a song about growing up, and "all of a sudden you realize your gender." It wasn't meant as a protest or anthem: in fact, being her breakout hit, she didn't think anyone other than her bandmates and some local fans would ever hear it.

"I don't even know if I knew what feminist at that time was," she says. "I was very sheltered growing up with my family. I wasn't political. I wasn't angry." Even now: "I don't need to go on Instagram and say 'girl power.' I just need to live and be a good person and leave a trail of greatness behind me. Stop talking about it and stop trying to bully everybody about it. Just do it. And that's how I feel like I've lived my life."

WHEN STEFANI WAS GROWING up in 1970s Anaheim, her father got a job doing market research for Yamaha, which required frequent business trips to Japan. He'd bring home Sanrio toys, as well as anecdotes about the Tokyo district of Harajuku, where teenagers were dressing like Elvis, and "taking all these American things and making them Japanese." His daughter was entranced. "He would be telling me these things my whole life, like my whole life. I had a deep fascination."

So when No Doubt played Japan in 1996, Stefani describes, "It was a pretty big deal for me." The tour was the first time she'd traveled outside of the United states, save one trip to Italy when she was 21. "I just was inspired," she recalls. "It's a world away. And at that time it was even further, because you couldn't see it on the internet. I don't think a younger generation can even imagine what it's like to not have access to the world."

From then on, Japan became one of Stefani's biggest career motivations, especially when it came to her solo albums. If she could just write more hits, she'd get to tour there again, see the street style, visit the vintage stores. "If you read the actual lyrics [in 'What You Waiting For?'], it talks about being a fan of Japan and how if I do good, I get to go back there," she says.

In the meantime, she decided she'd bring Japan to Los Angeles. "I never got to have dancers with No Doubt. I never got to change costumes. I never got to do all of those fun girl things that I always love to do. So I had this idea that I would have a posse of girls — because I never got to hang with girls — and they would be Japanese, Harajuku girls, because those are the girls that I love. Those are my homies. That's where I would be if I had my dream come true, I could go live there and I could go hang out in Harajuku."

Earrings, bracelets and rings: Dena Kemp (The Residency Experience, Gold Necklaces: Gwen's own, Top: Local Boogeyman, Pants: GCDS, Shoes: Valentino

Dancers Maya Chino ("Love"), Jennifer Kita ("Angel"), Rino Nakasone ("Music") and Mayuko Kitayama ("Baby") would go on to accompany Stefani for her next two album cycles, dancing on stage and in her videos while also making silent, but very well-dressed, awards show appearances. Kita, who'd grown up in LA, visited Japan for the first time on Stefani's tour.

In a 2006 interview with Blender magazine, comedian Margaret Cho compared the Harajuku Girls to a minstrel show. The backlash against them has been consistent ever since. Stefani, to this day, disagrees.

"If we didn't buy and sell and trade our cultures in, we wouldn't have so much beauty, you know?" she says. "We learn from each other, we share from each other, we grow from each other. And all these rules are just dividing us more and more."

Hello Kitty merch was harder to come by when she was a kid, but in other ways, life felt easier. "I think that we grew up in a time where we didn't have so many rules. We didn't have to follow a narrative that was being edited for us through social media, we just had so much more freedom."

Earrings, bracelets and rings: Dena Kemp (The Residency Experience), Necklaces: Gwen's own, Dress: GCDS, Shirt: Faith Connexion, Tights: Capezio, Shoes: Marc Jacobs (Lidow Archive)

Stefani's penchant for rule breaking has always been apparent in her music as much as her aesthetic. Genre-wise, she's a randomista. The chart success of No Doubt's bouncing ska beats felt like an accidental post-grunge-era glitch in the matrix, and it's insane to this day that one of Stefani's biggest solo hits samples "If I Were a Rich Man" from Fiddler on the Roof, by way of '90s British dancehall duo Louchie Lou & Michie One. That another, "Wind It Up," features earnest Sound of Music yodeling.

"I just make up whatever comes out," Stefani says of her songwriting process. "I don't even know where it comes from. I feel like it just comes from the source. It's not trained, and it's not perfect, it's just real."

She looks back on the Love.Angel.Music.Baby era as unusually experimental and artistically fulfilling. "It was just a really incredible time, and a very creative time. I feel like it was just a really creative project."

STEFANI VIEWS HER CAREER success as mostly a matter of luck. Pop stardom is God-given and mysterious."Because the fact I made it, it doesn't make any sense," she reflects. "It's written in the stars. You know what I'm saying? I'm not the most talented. I'm not the most pretty. I'm not the most smart. None of those things. But I made it, right?"

Clothing: Blumarine, Bracelet and choker: Dena Kemp (The Residency Experience), Obsession necklace: Lidow Archive, Gold necklaces: Gwen's Own

Every week on The Voice she watches objectively gifted musicians fail at becoming artists. "I watched people that went through that without seeing their faces, without knowing what color they are. And I chose the ones that pulled my heartstrings. And even though they were so talented, none of them have had careers. It's made me look at myself and even feel even more amazed by the fact that anyone cared or cares."

If all of this is actually so out of her control, then Stefani feels safe stepping back a little bit. "I don't have that fuel in me like I used to, because I already won," she says. And now she has other victories in mind. "Being a good human, a good mother. I want to have a good marriage. I want to be a good wife. I want to win at finding peace. I want to win at finding other hobbies that I'm good at."

But at the same time? "If I'm inspired, I'm going to try to do something with that inspiration." That's the most fun part: whatever else comes after has always been an amazing bonus.

The "Let Me Reintroduce Myself" era, whatever form it may eventually take, isn't a desperate grab at former glory. It's Stefani refusing to evolve for the sake of it. She's poking fun at the whole idea of having to compete with past personas alongside current ones, while acknowledging the fact she's grateful to still be in the game at all.

"You don't know what you're doing," she says, somehow both confident and resigned. "You're a cartoon of yourself at this point, and you don't know what people are thinking. They're wondering, what? Why are you still here? And I'm like, I don't know. They said I could be here. So I'm here!"

Photography: Jamie Nelson Styling: Nicola Formichetti Hair: Sami Knight Makeup: Michael Anthony Nails: Carolyn Orellana Wardrobe director: Marta Del Rio Production: Katrina Kudlick Digitatech: Sean MacGillivray Logo design: Luca Devinu Story: Kat Gillespie

FROM YOUR SITE ARTICLES

[c4pricornc4ts]

The Minors Lunch Club (MLC for short.)

This is a Valentines day one-shot for intruxx <3

Characters: Tommy, Ranboo, Sam, Tubbo

Catagory: Fluff 

Words:2.1k 

For a MCYT writing challenge, join the writer’s block discord here!

----------------------------------------------- It’s a very on-brand thing for Tommy to do- leave getting his friend a gift the day before Valentine’s day. He kept putting it off because he wasn’t sure what to get Ranboo. He has hybrid friends, but Tubbo was easy. He and Sam had taken a break from the hotel to make the boy a small bee necklace that he knew he’d love. 

Endermen were a whole new category. What did enderman hybrids even like? He hadn’t talked to Ranboo much unlike Tubbo. So he was really at a loss for ideas. Are there items that are offensive to give an enderman? He hopes Sam will know. Otherwise, he’s going to have to ask Tubbo and he really doesn’t want to get laughed at. 

Sam doesn’t laugh, even if Tommy knew the question was ridiculous. He wasn’t used to that. 

“What do endermen like?” He’s gathering more wood for the hotel, Sam somewhere behind him. 

“What are you setting up some kind of… enderman trap?” 

He throws his axe down, splitting another log. Trying to keep his focus on his work, embarrassed to admit the truth to Sam. 

“No- I don’t know what to get Ranboo for tomorrow. And I don’t think he’d appreciate me trapping his cousins.” 

“Yeah you’re right, don’t tell him about Philza’s hardcore world then.” Tommy hears Sam shudder, his tail making a slight sound as it puffs out. 

“Didn’t plan on it Big S.” Tommy laughs and cuts through another trunk. 

“Just get him something he likes, we hybrids aren’t that different you know.” 

“That’s the problem! I don’t know what he likes. We barely talk, but Tubbo went and invited the guy to our lunch and now I need to find him something.” He tosses the logs into their wheelbarrow and pushes it towards Sam’s pile to collect his as well. 

“Okay then, get him a grass block or something. Better yet, let him pick. Y’know?” 

“Your ideas are shit, Sam.” He hopes Sam can somehow hear a “thank you” in that insult. Because Tommy just got the best idea ever. “I’ll drop all this off, then I’m off to build something else. I’ll see you tonight yeah?” 

“See you then, good luck with Ranboo. The only way you could mess this up is by giving him water so just- don’t do that.” The creeper hybrid goes back to the rest of the trees as Tommy pulls out his silk touch shovel and gets to work collecting grass blocks and a few other blocks just in case Ranboo likes variety. 

He tucks his new blocks away into his inventory and goes towards the main path of the SMP. 

With how far everything has gone, can he even call this the main path anymore?

He goes into the abandoned Walmart that Tommy for the life of him can’t remember who built it and starts arranging the mostly grass blocks into different piles and sections. Adding a small pile of sand and some smooth stone he mined with a silk touch pick for a little variety. He can’t have a store that only sold one thing, it was bad for the economy. He reasons. 

Once he was finished he went to Sam’s house to find something to make for dinner. He and the creeper hybrid had a deal, he does dinners and Sam lets him stay in the spare room while the hotel is being built. Though he knows Sam doesn’t actually care if he does it, he just wants Tommy to feel like he’s earning his stay. 

He appreciates it. He’ll never say it out loud but he appreciates all the little things Sam does for him. Maybe he’ll try being nicer to the man tomorrow. 

Probably not. 

He tears into his baked potato after wrapping Sam’s in some tin foil before running up the stairs to his room. Tomorrow he would drag a hopefully excited Ranboo to an abandoned Walmart and make the best second impression ever. 

------------------------------------------------

Once he’s dressed and double-checks he has Tubbo’s gift in his inventory he pulls out his communicator to message Ranboo. Leaning against the front door. 

You whisper to Ranboo: Hey, meet me outside Sam’s house, I want to show you something. :)

Ranboo whispers to you: Alright, I’ll be there by the time you read this message. 

Tommy reads the message again, trying to understand what it meant when he hears a small vwhoop and jumps a bit when he looks up to see a slightly disoriented 6’6” enderman hybrid standing on his front porch surrounded by purple particles. 

“I hate teleporting. But Philza says I need to do it more so here I am.” 

Tommy regains his composure as Ranboo straightens out his suit that Tommy can only assume got ruffled in the process. 

“You know, that whole teleporting thing would’ve been useful back when we were fighting for L’manberg.” Referring to L’manberg so lightly with anyone else would be impossible, but Ranboo’s absence from those days made it easier to joke about with. “What were you doing before you came here anyway?” 

“I don’t remember.” Ranboo looks away, Tommy silently berates himself for asking. He really didn’t want Ranboo to hate him. 

“That’s okay tall man! You’re here now and I’m stupid for asking.” He starts walking towards the Walmart hoping Ranboo would just follow. 

He does. “You’re not stupid, most people would remember. I just have beef with memories y’know?” 

“Beef with memories…? You’re gonna have to tell me about whatever that means later. But for now I gotta show you your gift.” 

“My gift?”

Tommy stops and turns to him. “Your valentine’s day gift! I thought you knew, why else would you just teleport to me no questions asked?” 

“I must’ve-” 

“Forgotten. Right. It’s no big deal, but what I’m about to show you inside of this broken down Walmart is.” He takes Ranboo to the entrance which is just the 2x2 opening not surrounded by broken glass. “Welcome to the enderman store! I made it myself because I am just so cool.” 

Ranboo immediately ducks under the doorway and starts moving the blocks around. “You aren’t very cool but this makes you at least 20% cooler.” 

“Does that mean you like it?” Tommy asks as he goes to stand behind the makeshift counter. 

“Of course I do! It’s like- like a block playground.” Ranboo teleports around the store and Tommy looks down because the sight of him appearing and disappearing was making his head hurt. 

“You pick one yet?” He plants his elbow on the counter and tries to give his friend a good impression of an underpaid cashier. 

“Pick one for what?” 

“As your gift.” He says it like it was the most obvious thing in the world but with the way Ranboo stands confused he supposes it wasn’t. “I mean, the whole store is your gift actually. But you gotta like, pick your favorite block or something.”

“That’s kinda stupid.” 

“Whatever, at least I’m not 6’6”, now pick your favorite grass block so we can go to Tubbo’s and show him how cool I am.” 

“Okay, I like…” He carefully considers the dirt for what? Tommy doesn’t know. Maybe endermen have a block grading system. 

He finally picks one of the many grass blocks in the corner and places it in front of Tommy. 

Tommy uses his communicator as a scanner and pretends to ring up the block. Ranboo just seems even more confused. 

“What? This is a store roleplay. I’m just keeping things realistic.” He pushes the grass block back to Ranboo who takes it and immediately holds it out in front of him. “The cost is teleporting Tommy to Tubbos because he’s lazy and doesn’t want to walk.” 

The taller laughs and Tommy climbs over the counter and clings to Ranboo’s arm bracing for the sudden movement. He closes his eyes and stumbles forward a bit when the hybrid brings them to Tubbo’s in under a second. 

He lets go of Ranboo once he’s sure he won’t trip and goes up to Tubbo’s door, instead of knocking he just let’s himself in. Rather he announces he’s here by shouting, “Big T! We’re here for lunch and I brought a very tall man with me. I think his name is Rainbow, not sure though.”

“Tommy it’s-” Ranboo is interrupted by Tubbo appearing from the kitchen, the fur coat he is usually buried in abandoned for a cheesy heart covered apron. 

“Ranboo! Tommy!” He runs up to them both with excitement, but he quickly tilts his head at the grass block Ranboo had brought in that was no doubt ruining his floor. Tubbo runs back into the kitchen and orders the boys to, “Stay there!” and when he returns he is carrying a planter pot with a little note attached that says, “To: Ranboo, From: Me :)”

“This is perfect, you can fill my gift with… wait did Tommy really give you fuckin dirt?” 

“No! I gave him a whole store of dirt you dickhead!” 

“I liked it.” Ranboo adds, trying to help Tommy’s case. 

“See Tubbo? He loves my gift, you are just a hater.” 

“Whatever.” Tubbo rolls his eyes and turns around, leading the other two into his kitchen. 

They take a seat and Tubbo places a basket of bread in the middle of the small wooden table. Tommy runs his hands under it to where he can feel the carvings of his and Tubbo’s name. They had built the table together, hell they had built most of the furniture in this house together.

Tubbo sits down next to Ranboo and places a jar of honey, no doubt from his own bees on the table.

“You know we should invite Purpled next time, then we can call it the MLC.”

“Call it the what?” 

“Y’know the minor lunch club! All the teenagers in one place, hopefully shit-talking the adults.”

“Tubbo can you-” Ranboo is interrupted by Tubbo, who was focused on what Tommy just said.

“We are not naming anything ‘Lunch Club’ ever, pick another name.”

“What? Why not?” He whined. 

Ranboo reaches over the table to grab the honey, knocking over the vase of flowers in the middle of the table. Tubbo pauses, he’s stood up, preparing to lean over and hit Tommy. 

“Tubbo I’m so sorry I’ll-I’ll clean it up.” Ranboo starts to go grab a towel when Tubbo tackles him and pretends to be mad. Tommy just sighs at the scene and goes to actually grab a towel before the water could ruin the table. 

“It’s valentine’s day and you’re fighting.” 

“It’s play fighting, it's a hybrid thing you wouldn’t get it.” 

Tubbo knew what he was doing, get Tommy mad so he’ll come over there and join them too. 

It works, Tubbo giggling as Tommy pushes him off Ranboo and shakes him gently. 

Tubbo headbutts him gently, careful not to actually hurt him. (It had happened once, Philza was not happy.) 

Tommy wraps his arms around the deer and refuses to stop hugging him, Ranboo takes the opportunity to get up and actually wipe down the table before going back to where Tommy was sitting against the door laughing holding a faux annoyed Tubbo. 

“Let me go Tommyyyy.” Tubbo whines, it’s muffled by the blond’s shirt. 

“No, you were mean to me and now I’m sad.” 

Ranboo sits down next to them and whispers “Clingyinnit.” causing Tubbo to laugh and Tommy to let him go opting to go mess with the enderman instead. 

“I am not clingy!” 

“He says, as he clings to Ranboo. His newest victim.” 

They finally get up, dusting themselves off, and go to exchange the rest of their gifts. Tubbo giving Tommy earrings with two purple disks on them. Tommy hands him the bee necklace and then Ranboo gives both of them a pig spawner. 

They go out and help Sam with the hotel for the rest of the day and when it’s dark outside they say their goodbyes and promise to come back tomorrow to see Tubbo’s new ‘project’ which the two no doubt means more nukes. 

It’s almost midnight by the time Tommy works up the courage to give Sam his gift. Walking up to his bedroom door and knocking gently. Fiddling with the letter he had made. He had no reason to be nervous, it was just a card to thank Sam for everything. He owed the man so much more. 

He had avoided giving Sam the card all day, but there was no turning back now. He supposes he could just run back to his room, pretend to be asleep when Sam goes to ask if he knocked. 

“Tommy?” Sam opens the door, yawning. Tommy had clearly woken him up.

He shoves the card towards the creeper hybrid and looks away as he reads it. 

Tommy can tell when he’s done because Sam murmurs an “Oh, Tommy…” before going to hug the blond. Who happily accepts it. 

“Your gift idea wasn’t shit, he loved it actually.”

“I know, I never have bad ideas.” Tommy can imagine the grin on Sam’s face as he says that and it’s enough to make him laugh softly. For the first time in a long time, Tommy finally takes a deep breath. Holding onto Sam a little tighter than maybe he should. Tommy’s tired of letting go. 

Neither of them ever want to let go. 

#fanfic #minecraft fanfiction #tubbo #tommy and tubbo #tommyinnit #ranboo #awesamdude #c4pricornc4ts

[popculturebuffet]

Of Moons, Millionares and Mothers Part 2: The Ballad of Duke Balloney or “I’m Flintheart Glomgold and I Always Will Be!” (Commission for WeirdKev27)

Hello all you happy people. I”m Jake, I review stuff and today continues my look at Ducktales season 2 story arcs, of Moons, Millionares and Mothers. And while this arc as a whole is paid for by WeirdKev27, due to the Arc’s length, 17 parts including 15 episodes and 6 comics (2 of which will be in the same review), this one’s special as he’s using his patreon review every month to do so. If you too want me to review something of your choice simply hit up my ask box or join my patreon at patreon.com/popculture buffet. You get access to my discord, to pick a short when I do a group of them for characters birthdays, help me hit neat stretch goals like my next which is reviewing a darkwing duck episode a month, and best of all EXCLUSIVE REVIEWS. And I just added one this saturday of a carl barks story centerting around wigs, legal battles and attempted murder, both by our villian.. and by our heroes...

I will never get tired of that panel nor the boys inexplicably finding a blowgun. Point is it’s there if you want it at THIS LINK, but enough plugging so I can help pay the streaming bills and keep doing this... let’s get to the meat of things shall we?

This episode begins the second arc of this retrospective, The Glomgold Arc. And this arc was inevitibly going to come to this blog for two reasons. The first is that I have made no secret, in fact i’ve shouted it as loud as I can the neighbors are concerned, that I fucking love the 2017 Version of Flintheart Glomgold. 

Glomgold is Keith Ferguson’s best role, tied with Lord Hater obviously, but it is indeed a tie. No one but Keith could’ve pulled off glomgold’s combination of ego, ham, and batshit insanity. He just makes the utterly stupid and wonderfully ludicrious things that come out of the mans mouth sound so damn natural with such an unearned confidence. It’s very clear that Frank had Keith in mind when putting this version of everyone’s faviorite South African Billionare pretending to be a Scottish Billionare and wisely built the characcter around him and his immense talent. I was not familiar with Keith at all, wasn’t even aware he voiced hater before this show but damn if that hasn’t fully changed. 

Glomgold was also just in general a brilliant update of the character: While I know a lot of duck fans weren’t happy with this version at least at first. As the action figure sitting on my shelf that once road in a car with my david hasslehoff baywatch funko pop I have entirley due to my love of baywatching,  this insane music video hoff did in the early 2000′s, and just in general how gloriously rediculous the man’s life is when you stop and think about it for a second from a pay per-view concert that ended up falling on the same night as The OJ Chase,  to his kung fury cameo , to his weird insetence they never had sex on baywatch desspite mounds of video evdience and the fact the show was buit around the bulk of it’s cast’s sex appeal, to the fact the model of his pecs used for the spongebob movie was sold in an auction and on and on... I was going somewhere with this...

Oh right as the action figure, and previous praise, shows I am not one of these fans: The original isn’t bad, in fact one of my faviorite life and times chapters that i’ll be covering this week and talking about later in the review has him as the main antagonist and a pitvitol figure in Scrooge’s life in the worst way possible. Rosa GETS what’s needed for Flinty to feel specail: to have him be an evil mirror to scrooge, what he could’ve been had he kept down the path he started down in Africa. A ruthless, amoral asshole who will do ANYTHING to get rich. 

It’s just often that isn’t emphasised enough and he’s instead just another one of the millions of generic assholes trying to get scrooges money sometimes with hired goons...

Not only that but Frank really COULDN’T have him at full effectivness. See an arch enemy in the Silver Age, which STARTED the same year Glomgold Debuted no less, wasn’t a big deal. They were still considered your deadliest foe but they’d often, much like Flinty be shuffled into the rogues gallery, show up for an issue to meance the hero, then either escape, get thrown in jail only to escape from that easily later, or be presumed dead. The last one I bring up because it happened to Magneto a LOTTTT pre-claremont. For Fuck’s Sake Charles have those teenagers train to look for a body once in a while!

Original Flinty was built for that, and brilliantly so as Barks had a talent for it , as seen by the fact The Beagle BOys, Flintheart and Magica have stuck around ever since and even in comics overseas where Flintehart is replaced.. it’s by Rockerduck who Barks ALSO created. The 87 Show followed the same formula, which was just as standard for 80′s cartoons. It’s why Megatron took until his toy was canceled the movie to shoot starscream in the face. 

The problem is villians evolved and the expecation became more that a true arch enemy had to be a true threat. While Frank and Matt COULD’VE made Flintheart a real and honest threat, he also would’ve had to make him a Big Bad. The probelm was those seats were clearly taken: while i’m pretty sure some ideas came as they went, the main story beats were clearly planned out well in advance: Webby being a clone was always the plan, as was FOWL, Darkwing being a fan of a fictional Darkwing who became the real thing, and Della being on the moon. So he presumibly carefully choose each season’s big bad... and thus Season’s 1-3 would be full up wise. Season 1 had Magica, who he made into a TRUE threat, yet left the door open for her to return as she did, Season 2 had Lunaris who even if they hadn’t fully thought him up, they probably had thought up the moonvasion, and Season 3 was what they’d built the series towards with FOWL. 

Details probably changed, it’s very clear to me they were likely going to have all three buzzards be important and ended up deicding to pivot to it just being Bradford over time. But given how well they though tout the general framework, I highly doubt Flinty was ever considered as a seirous big bad.. and I know i’m saying this in an arc that tried to set him up as one, but i’m getting there simmer. 

So they could wait for a season 4 that might not happen.. or make him a recurring villian. So Frank and Matt decided to do that and leaned into comedy. Centering him around keith who Frank worked with previously on Wonder and thus knew he could play a hammy manchild like no one else, they simply leaned into the goofier aspects of his personality. His being similar to scrooge became him being an intentional and blatant knockoff. As Scrooge himself perfectly summed up in episode 1 “The poor man’s version of me.. which to be fair still makes him insanely rich”. 

It’s another reason to really love this version as while yes, they did make him a bafoon.. he’s a wonderfully, redicuously layered bafoon: He still contrasts scrooge perfectly, manically hammy to Scrooge being calm, especially around flinty, blantatly crooked to Scrooge’s died in wool honesty, and wasting money on revenge instead of spending it on his actual company. There’s more obviously but some i’m saving for the review. 

Not only that but his insane schemery has a rhyme and reason to it: He attacks Scrooge every week like the saturday morning cartoon villian he is, but his schemes are always unwieldly and massively stupid, and he always goes with the first draft. It’s something the team enforced: the first version is what they role with because that’s how his sad brain works. He also is obssed with sharks and explosives, the former being given a suprisingly heartfelt and unsuprisingly insanne origin story towards the series end, and works them into every plot no matter how much itm akes no sense. He’s pure ego, pure stupid and pure fun. 

So yeah circling back to him being the big bad, I felt he was made one for this season for two reasons: the first is while a lot of fans (raises hand) enjoyed this version, some didn’t like how inept he was, so this would give them a breif bit of Flintheart being a genuine threat again. The other was frankly... they didn’t want to play their hand. Lunaris WAS the big bad... but fans would get supscious if there was seemingly no true threat on the horizon. Magica popped up in episode 4. We didn’t know her full plan yet true, but all we needed was lena SAYING HER NAME and fans of any other version of teh Disney Ducks would instantly go “Oh shit there she is”. So fans would now have the expectation of a main antagonist.. but would be instantly supscious of Lunaris and Penumbra if there wasn’t one for the first third of a season it took to them, and it’d leave a gap in the story to not have someone driving the plot on earth. 

So Flinty got an upgrade.. a slight one and we’ll talk about the eb and flow. And thus he got a proper origin. Now granted they could’ve planned this too, but this one’s harder to tell as the curse you me gag could’ve been a clever setup or could’ve just been a one off gag they somehow turned into an entire episode. So Flinty got an arc.. and a comedic foil, the other reason this was inevieble, and Kev’s faviorite character, Zan Owlson. So how did it work out for them? Well we’ll begin that journey under the cut. 

We begin our story a few months ago.... on every level really: the months ago shadow war aired when this episode originally good, the months ago I reviwed Shadow War (which via counting I found out was my 200th episode not counting Patreon. Nice), and most importantly for this story, the four months ago before the present day of Season 2. 

Glomgold saying curse you me as he fell into the bay during the Shadow War.... only for once in his life he dosen’t somehow get out of it unscathed and instead passes out, almost drowning. He’s found by Fisher and Mann, two fisherpersons... Mann is specific about that due to being a woman despite the obvious irony. It’s a good gag. Flinty acts like he normally would.. hostile, demanding that they know who he is.. and while they don’t.. neither does he. 

Cue credits and cue present day. Via a newscast with Roxanne we learn what I mentioned earlier: It’s been four month and Glomgold’s been missing. The general mood.. has been about what you’d expect. 

Yeah Roxanne turned on him real fast. I genuinely wouldn’t be surprised if it was because he later openly bragged about stealing scrooge’s money during the shark thing on live tv at some point, making Roxanne look terrible for enabling him and for blatantly supporting him earlier. I mean.. how else do you get a corrupt journalist to do anything decent. 

But with Glomgold gone SOMEONE’S gotta replace him.. and that someone is Zan Motherfucking Owlson. Top of her class at Mouseton Univesity, Owlson is the show once again updating things: previously they added Mark Beaks to the Rogue’s Gallery as he contrasts the 50′s (scrooge ) and 80′s (glomgold) idea of billionares from previous versions of the property being a modern tech weasel. Though instead of just one thing Owlson represents a few: The most obvious is she’s a woman of color: Having a black woman in such a high position of power is something disney would’ve outright vetoed in the 50′s and 80′s. Here it’s well accepted as it always should have been. It also feels like a delebrate move on Frank’s part: There weren't’ any major african or african american coded characters in season 1, despite the show being very open and accepting, so that needed to change. The other is frankly outside of Brigtaa MacBridge, whose also weirdly absent from this series for some reason and has taken Fethry and Rockerduck’s place as the most major overseas duck character to never get adapted, there are hardly ever any females on Scrooge and his richer foes level. He’s had the occasional female rival or suitor, but only Brigittta had staying power and while I love the idea of her, another person as rich as scrooge whose willing to spend more and has a crush on him, she badly needed an update as she’s essentially Adventure Era Amy Rose in a grown ass woman’s body. 

Owlson also provides a diffrent dynamic in that she portrays the ideal of what we’d want from a ceo: She’s honest, works hard, earned her way as square as scrooge did, gladly donates to charity and is extremely charismatic and intelligent. Granted most CEO”s are nothing like this but still, she’s what we WANT them to be. Using the money not for themselves or taking big paychecks but to help people. She also provides something Glomgold needed: a straight man. While he has one in Scrooge at times, Owlson unlike both of them is a fully functional resonable human being. Scrooge, while a good person deep down, can be reckless, impulsive and greedy, and Glomgold had a tarzan like experince with sharks, goes on to name his dummy son sharkbomb, and tried to murder Scrooge on live television twice that we know of. She’s the calm, snarky, put upon sane person trying to reign in the crazy shark explosion man. 

Owlson dosen’t get a ton to do here, but that will change and she does get a decent amout in the final scene. But what she does here establishes who she is and how sh’es FIXED Glomgold industries; She’s shut down the vast number of money sinking scheme related departments, set ups everal charities, and is even setting up a new one with Scrooge, Dimes for Ducklings. In short she knew exactly what was needed to fix the company and it’s image and did so in FOUR MONTHS. Probably even less given they had to be sure Glomgold wasn’t coming back right away. I guarantee he’s faked his death like 10 times just to try and kill scrooge. They have to make sure it’s real first.  As one last note before we move on, Owlson is played by Natasha Rothwell, a producer and writer who i’ve only seen outside of this in Love, Simon and Sonic the Hedgehog.. that is a weird combo of things that mean a LOT to me I haven’t been able to bring up here again. 

We find the tv this was all playing on on the docks with a non-anthro segull pecking it while a bunch of fisherpersons go about their day. We also get this guy. 

Add him to the list of spinoffs I want THE LIST OF SPINOFFS JAKE WANTS: 1. Darkwing Duck 2. Donald, Daisy and the Kids 3. The Sabrewings 4. Tailspin Reboot 5. The Flintheart Glomgold Show 6. A Sequel Movie 7. This Guy Punching A Fucking Fish 

So you might be wondering when any of our main cast are going to show up.. and why the fish puncher isn’t in said main cast. Well that’s about now as Webby and Louie are fishing. Well okay more acuratley webby is fishing because she genuinely enjoys it and Louie is tagging along so he can nap on a boat while Webby paddles him around. That plan is threatnned by her spear fishing and he suggests using rods instead, but they need bait for that. 

Naturally, given we need to get this plot going our heroes run into Duke Baloney, aka an amnesiac Glomgold. Understandably, both of htem think this is some sort of scheme at first because waiting for someone related to Scrooge to stroll by his fish stand for some sort of shark themed trap, especially since he’s right near the water so he dosen’t have to worry about keeping them hydrated like that time he dropped one from a plane onto scrooge’s board meeting with two chainsaws strapped to it. But .. it’s not. While we the audience saw him amnesiac, and at first I thought that spoiled the episode... it really dosen’t. He still ACTS like himself on instinct, so your not sure if he faked it as part of some elaborate scheme or is really gone till this scene shows that, no he really isn’t there. And the how is simply in knowing the guy: Glomgold is not good at subtley. He has disguises and such, but their never remotely convincing. He could NEVER pull off  actually being a humble fish monger nor have gone four fucking months without yelling at scrooge or remotely contacting him. There’s also the fact Fisher and Mann 100% belivie in duke and back up his very real story of being dredged out of the bay. There’s also his south african accent, which actors including David Tennant himself have admitted is one of the hardest to pull off but Keith does swimingly, which is a hint.. but only on rewatch or for those who know his comics origins. 

Louie isn’t convinced which is fair: even if Glomgold isn’t good at this sort of thing, he’s still tried it a lot. Webby however correctly figures he has amensia. So the two simply try talking to him. Fisher and Mann do get a bit dickish laughing off the idea he’s possibly Glomgold.. despite the fact you know you dredged him out of the fucking water 4 months ago.. and if you actually looked at the news, would see Glomgold disappeared around the exact same time you found Duke. It just annoys me because otherwise these two are great characters: Friendly loveable fisherpersons who love their job, have no comeptiviness and genuinely want to help their friend duke. The encounter does have them seeing a fancy money clip Duke has but with no other options they leave for now. 

But while Duke has forgotten who he was... bits of glomgold still stir within him. And that starts when Duke spots the McDuck Industries fishing boat, the best fishing boat on the sea, something his friends are okay with.. but Duke naturally isn’t. So while Duke was a calm sane fisherman before the true glomgold in him is on full display as he comes up with insane schemes involving fish and explosives, before presenting a rather insane scheme to his friends involving getting engineering degrees and other stuff.. it’s as poorly drawn and wonderful as you expect from him. But what’s telling is that he reigns it in when his friends show obvious concern with his actions... something Glomgold would NEVER do. For one he dosen’t have friends. For another, he doesn’t care about anyone else’s feelings or thoughts. 

By now Webby is also championing that Duke is a diffrente person.. which is true. Duke is Glomgold stripped of his hate and resitment towards scrooge. He’s who the man COULD’VE been had he not sworn eternal vengeance on Scrooge. Louie is doubtful that he’s amnesiac still.. but neither can quite figure out the full story so it’s time for research.. and for Webby to accidentally knock Louie into some lobster traps.. which given he’s spent the entire episode assuming an amnesiac man isn’t that despite all the evidence to the contrary, he earned that. That said these two were the perfect choice for it: All of the boys have a bit of skeptic in them, and we already had a plot with Huey being skeptical.. and even he would’ve given up by now as would dewey since he only has a pinch at best. Webby.. has none. She can question motives and stuff sure, but at her heart she’s a kind forgiving soul who belives the best in everyone. And.. its’  paid off fo rher. Look at the whole Lena situation, she believed in her, even while Lena was actively manipulating her,.. and it truly changed her, convinced Lena to do the right thing despite the cost, to choose love over the abusive monster who made her. It’s the only missed opportunity in the episode for me. Character wise it has exactly the 8 it needs to tell the story and focuses heavly on the five it truly is about. But not having Webby bring up Lena when we don’t hear her mentoined AT ALL during her absence (though to the shows credit they did a good job showing Webby still had never remotely given up), and it made the wait more agonizing and would’ve made her motivations hit even harder: that she belives in duke because she believed in lena and it was real. And while this thank christ isn’t remotely romantic, the point does stand: She wants to see the best. 

Louie is a conman by nature so he only sees the worst, the weakest in people, the things he can use to take htem down or take hteir money. He can’t fathom someone doing good because he can’t fathom HIMSELF being good. And that.. says a lot.. but he’s accepted himself as a shady conperson who cares only for himself.. even if that’s not the truth. His inclusion here enhances his own arc much like Huey’s role in quack pack enhanced his. It shows that deep down Louie dosen’t think much of anyone.. and probably not himself. That he has to be shady and greedy to survive when that’s not tru. Sharper than the sharpies yes but also square.

One last bit before we moved on  I just found out though: The Crew originally had this as a straight up origin story: no kids, none of the rest of the duck family, except presumably Scrooge’s parts here, just Glomgold’s struggle with amensia and his past leading to who hei s now. Honestly I think that version could’ve worked, but likely given disney seems TERRIFIED of making a show starring an adult without a chlid and had to be talked into the child light Golden Lagoon, that was a non starter but I think it still works fine. I also foudn this out via a twitter thread of Frank’s rewriting history that goes in deep on teh production of each episode. Had I known this existed before writing this one, I would’ve used it for the other two arcs and most dangerous game night, but I intend to read through it so I have everything on the table from here on out. 

For only the second time in her long career of researching stuff though, Webby has hit a dead end. Mostly because she couldn’t find anything on Duke.. and NOTHING on Glomgold’s past pre-Duckburg. The most she has is his visa...

I want to frame this on my wall.. and someone is actually seling id cards out there, so I want this one at some point. It’s not Disney because they don’t care about fan merch like this, but then that just means they don’t get the money because they didn’t think of it or put the work in then huh. 

But yeah with nothing else our heroes go to the only person they know who knows him well...  Scrooge. 

Meanwhile Duke has .. this... I just.....I can’t put words to this truly bizzare surreal dream sequence.. it involves Glomgold going insane, the kids dancing on a bagpipe, and owlson is there.. despite the fact that Glomgold should have zero idea whot hat is. I think the kids mentioned here but even then, he somehow knows exactly what she looks like.

Otherwise good stuff and it’s raining hard as Duke goes in. Fisher and Mann have formally added him to their sign, and warmly welcomed him in and Duke says “this is the nicest thing anyone's ever done for me I think” which is probably true. and makes what’s coming all the more heartbreaking. 

But before what’s coming Duke has another thing coming.. Scrooge who the kids brought to talk to him. The two talk casually, the kids watch not knowing.. and then Scrooge comes back to them. Turns out Webby was, unsurprisingly right on the money, Flinty does have amnesia, and unlike what Louie thought.. he isn’t inherently evil. Duke is just duke.. and Scrooge has no intention of fixing the amnesia. And while that SOUNDS bad.. his intentions are noble: Glomgold.. was a throughly miserable person. He was never happy and never would be till Scrooge was dead by his hand and that was never going to happen.  It isn’t even taking an enemy off the board: Flinty is only a threat on occasion. Scrooge clearly ENJOYS their conflict: it may annoy him from time to time, but he clearly enjoys upstaging the guy. And as he points out, it’s not a brain injury or anything: Glomgold is practically immortal as Louie put earlier, and Scrooge outright mentions Glomgold’s taken a LOT of explosions to the face. So he’s in no real danger physically or emotionally.. he’s happy. He has friends, a calling he truly enjoys. There’s another reason too but we’ll see that in the final scene. 

So Duke is finally happy... but it doesn’t last... the kids go out but a storms a coming, and Duke selfleslly heads out to save them.. only to get hit on the head and fall in the ocean again. 

It’s here we get the 2017 version of Glomgold’s origin story. We did kinda get one with life and times, as we saw his first meeting with scrooge and why he hated him, long story short with the long story coming later this week Glomgold left Scrooge for dead and Scrooge’s response was to come back, kick the fuckers ass, tar and feather him and utterly humilaite him, leading to Flinty swearing vengance. 

But while I love that version..t his one is just as awesome if not better. And it’s without having Scrooge ride a lion. Here we instead meet Flinty as a child Scrooge’s age... and as a shoeshine boy. Yup just like Scrooge Duke, Glomgold’s birth name, was an industrious young boy with big dreams. He also had unwieldy schemes from minute one, but Scrooge saw in this lad the same fire he had and tried replicating his own origin. 

The problem was... the different context ruined it. Scrooge was paid by an equally poor ditchdigger the us equilvent of his pay: still useless in scotland, but a good lesson in hard work and not being swindled. Scrooge tried that... as the richest duck in the world and without giving flinty the same amount of money. 

So Duke/Flinty took umbrage at this yelled at scrooge.. and pick pocketed his money clip. In the only bit taken from the rosa version of their first meeting, Scrooge never realized he’d met flinty already. There and then duke came up with his first true, and first insane scheme: Save the money and use it to mold himself into a richer, more scottish version of scrooge dedicating his life to one upping him and killing him. A “single white female” type thing as Frank put it. 

It’s.. utterly brilliant... taking Glomgold being a knockoff as mention and just running with that... making Glomgold a LITERAL knockoff. This was indeed the plan all along: A way to have him be both south african and scottish and it was brilliant. It also gives him more depth and more tragedy: He COULD’VE been the next scrooge.. but instead of being his own man or learning any of the hard lessons scrooge did he doubled down on never learning anything and getting vengeance on an old man’s well meant but accidently classist gesture. 

So Glomgold reawakens and while it first looks like he’s going to save the kids... he instead throws Webby into the raging sea, and steals their fish. Webby is heartbroken and Louie asks him “what about duke.” His response is heartbreaking as it is character defnting

“I”m Flintheart Glomgold and I always will be!” the lightning shot, the cackle..i t’s just such a damn good moment that underscores the tragedy of the episode as Glomgold’s new friends are horrified by what he is now and what he was always meant to be and Glomgold leaves to go stalk scrooge once again. He indeed is Flintheart Glomgold and always will be.. because he threw the decent person he could’ve been away. He’s miserable.. because he can’t let go of his rage or ego and just move on from something that happened to him when he was ten! He has to be in his 60′s now! Glomgold may think Scrooge is his worst enemy.. but it’s really Flintheart Glomgold.... and it always will be. 

So naturally his first actoin is to storm into his company and scream at scrooge. How he found him there... honestly not a huge suprise it��s his company and he likely knows how to find scrooge anywhere because he’s a creep like that. Scrooge and Owlson’s reactions are both worth a look at:

Given Glomgold bursts into an already annoying meeting of Scrooge trying to get the dimes part knocked down to nickles (and likely lower before that given he mentioned Pennies earlier), to accuse Scrooge of trying to trick him by appearing as a boat in his dreams her bafflement is both understandable and hilarious. Like she probably HEARD what Glomgold was like but gennuinely didn’t belivie it and her face is just now frozen in a look of “oh my god they were not exagearating what fresh hell is this”. 

She tries to be professional and introduce herself but he just brushes her off and yells at Scrooge blaming him for being forgotten (”You literally forgot yourself), with Owlson also considering calling security. She only dosen’t because Scrooge points out he’ll tire himself out eventually and as usual for their jousts, is not remotely threatened or worried. He’s just..sad. And getting back to his reaction.. that’s what’s telling about his plan. He probably KNEW this would happen. He in his heart knew Duke Balloney would be gone soon, and he’d have to deal with Glomgold again. It helps soften the implicatoins: it wouldn’t last and fraknly if it did Scrooge would probably have people check on him regualry to make sure he was okay. He’s not a monster.. he just wanted Flinty to be happy for five minutes and to not ruin that out of some misplaced sense of right and wrong.. when the right thing was to simply let the man be happy till it inevitably blew up. 

Glomgold however, furious at being forgotten and cast aside has decided to take a huge poorly thought through gamble and challenges scrooge to a classic Scrooge comics trope between the two, but with higher stakes: A contest to see who will be the richest duck in the world by the end of the year.. and given Christmas happens right after this i’m just assuming he means a year from now. Winner gets both companies and fortunes. Scrooge scoffs at this.. till Flinty pulls out the clip, taunting him with how he did it and “If I can beat you once scrooge i’ll beat you again”. And this, Flinty revealing he stole from him and he NEVER KNEW it or realize it, enrages scrooge enough to agree and to take him seriously... meanwhile Owlson.. just tries to get actual work shit done and just forges their signatures. Look she is a woman of color in the business world with genuinely good motives... she’s probably used to using white nonsense to get things past two idiots having a peeing race. 

Final Thoughts:

This episode is truly excellent and like Most Dangerous Game Night! i’d forgottne just HOW good it was. The pacing, the comedy, and the character work is all on full blast and i’ve gushed plenty enough about how great an origin story is. it’s a character piece that explains why this doofus is the way he is and that is what holds him back. 

Next time on MMM: Louie’s back as he pulls a ghostbusters to make quick money and Storkules starts rooming with Donald with predictable results. 

If you liked this review consider joining my patreon and i’ll see you at the next rainbow. 

#ducktales #flintheart glomgold #scrooge mcduck #the ballad of duke balloney #webby vanderquack #louie duck #fisher #mann #fishing #weblena #disney plus #disney xd #disney channel

[mrnerdteacher]

That One Scene in “Joker” That Changes Everything

Let’s get this out of the way right now.

“Joker” is a revelation.

It’s artful, gut-wrenching, thought-provoking, darkly funny, and utterly compelling. It’s everything the Marvel Cinematic Universe is not. No action-figures will be sold. No Disney rides will be planned. There won’t even be any crossovers or teases to a sequel. I felt downright bad for the 8-year old boy in my audience (whose father clearly had made a horrible mistake in bringing him). And yet this movie is not only the best comic adaptation ever, it might be the first truly important film based on a comic, period. (Black Panther and Wonder Woman are also high on that list for the ceilings they helped shatter)

You can tell from the very first shot, which lingers on the titular character’s face for an uncomfortably long time, that this movie is going to be something new. In nearly every frame it defies your expectations, and in every plot beat flirts with controversy and political commentary, unabashedly making a myriad of powerful statements, most of which center around America’s treatment of the mentally troubled.

And it is in that vein that the movie has its greatest power, including a scene that I think should be studied in every film class (except I’m not being sarcastic). I understand if you leave now. If you haven’t seen the movie, you think I’m being pretentious. But those who have will likely understand my awe and glee. And it all starts with this moment.

It’s early in the film, but I’ll hide it behind a spoiler tag since I am really glad I wasn’t ruined on this INSANE twist.

SPOILERS AHEAD.

Over and over, Arthur Fleck (aka Joker) has increasingly tense encounters with the unfeeling masses of Gotham. Things escalate beyond your wildest expectations, but it all starts with an overly-protective mom perceiving Fleck’s incessant laughter as some type of threat or insult to her and her child. The audience is on edge, waiting for the “Joker” to emerge and become some sort of monster to these helpless civilians. And then he hands her a card, “laminated” with clear packing tape, clearly wrinkled from years of use. It says: Pardon my laughter. I have a condition. It was all I could do to keep from crying on the spot. Director Todd Phillips figuratively (and almost literally) shows you his hand in this scene, and from then on you realize everything you thought you knew about Joker was wrong. He is a victim. He is wounded. He is incredibly scared. But most importantly, he is a human being. And his downfall is not here to entertain you. His insanity is not “fun,” but it will captivate you, consume you, and resonate with you in ways no family-friendly film ever could. People praised Heath Ledger’s performance for being such a convincing “Agent of Chaos,” whose backstory could never be pinned down by character or writer alike. We thought that’s what we wanted. We thought that’s who the Joker was at his best. That’s why we bought t-shirts and bobbleheads and quoted him incessantly in Facebook posts.

But Joaquin Phoenix’s Oscar-destined performance shows us that he can be so much more, in a film that’s not only worthy of your time and money, but also deeply culturally important.

And pay no heed to the haters. To paraphrase a powerful line towards the end of the film, “They just don’t get it.” But I think you will.

#joker #joaquin phoenix #Warner Bros #DC comics #marvel #MCU #Disney #heath ledger #movie #movies #comic books #batman #the joker

[commonplaceprojkelseyh]

Reflection!

Kelsey Harper

Professor Dr. Richards

(ENG-3298-01, WGS-3298-01, GBS-3298-01)

July 30th 2021

Individual CommonPlace Book & Reflection Paper

Feminism & Gender Equality

Did you know that eight out of the top ten countries have a larger female gender population compared to the male gender yet the percentage of women within the workforce was at 28% since 1959 up until 2020? That means for every 1 male, there are 7 females to that one male, making the population higher for women. It is sad to report considering I have been a part of that percentage since 2000.  To think that an entire race of extraordinary females for more than just one reason are not on the same working tier as man, even though woman represent a great deal larger within the population compared to men is astonishing. I know what you are thinking, it is due to our past ancestors that made the corporate world, “a man’s world” however, so much has changed in today's society to encourage women that they are just as equal to man in more than one way!

I, for one, grew up in a “both my parents work” home situation, which ultimately left my brother and I with a lot of babysitters. For many other people like me, that can be normal right? Well, what I didn’t know for the longest, was that my mom was working as a Merrill Lynch Financial Advisor managing over 500 million dollars in assets which ranks her in the top one half percent of all females and more importantly males in her industry. Ironically she has been doing this for over 34 years and the percentage of women who are at her level in the investment business has never moved past 15%. Making her one of only 200 other women in the entire industry at her level(which made her job an everyday event to consistently prove herself to the men around her.) She picked a career that was based on meritocracy, so there was very little subjectivity to her advancement. Basically, she was responsible for her own success, the harder she worked, the better she did. This inspired me at an early age because my mom never seemed to think that whatever she was searching for, shooting for or hoping for was unreachable. If anything it never even crossed her mind to not work as hard as she could to be within her industry and have the reputation she has built up to today. She has made it her mission to bring up other women to follow in her path. Okay, so you may ask well how does this even relate to our class? Well, part of the reason I was so interested in taking the class in the first place was the title, which is, “Woman’s Writing Worldwide”, which stood out to me because of the first word. It stood out because of that five letter & two syllable word that can make or break a human coming into the world. For others, within third world countries, like the ones we have been reading about, that word defined one from the jump and almost pre-decided that female's destiny. As much as I would like to say it is different in the United States, it is similar in the way that being a woman in today’s culture is a huge ever-growing adjustment because men are only making it harder for us to speak our truths and claim our spots within the working class. Trust me, I may sound like a hater on the male race, but I am eternally grateful to a lot of them for making me the person I am today, however if men truly understood woman, like we do them, the world would be a much fairer place because it is not a competition all the time like men tend to make it to be.

One person that spoke volumes to this exact subject was Meghan Markle, in her speech that specifically dealt with her first encounter with being a woman’s right advocate at the early age of 11. In that speech, she essentially told the audience that she was watching a TV show in grade school, when a commercial came on for a dish liquid with the tagline, “woman all around America are fighting greasy pots and pans,” when two boys in her class quickly said after that commercial, “yeah that is where women belong, in the kitchen.” She was so bothered with this that she wrote to the first lady, then Hilary Clinton, Linder Elerby, Gloria Albred and the soap manufacturer, Proctor and Gamble to change the tagline to, “people all over America are fighting pots and pans.” When in fact, a month later they in fact did change the tagline and opened the doorways for Markle to really understand the magnitude of her actions within this topic. She then goes on to even say that, “women need a seat at the table, they need an invitation to be seated there, and in some cases when a seat is unavailable then they have to make their own. It is said that girls with dreams become women with vision. May we empower each other to carry out such a vision because it is not enough to simply talk about equality and it is not enough to simply believe in it, one must work at it. Let us work at it together, starting now.” I absolutely loved her entire story because it really hit home for me who was mesmerized by her willingness to stand up and say something. Without that willingness from women such as her, women as an entire race will never have a seat at the table. I am thankful to her and for the blessed opportunity to come across that story which inspired me to start a club chapter of CHAARG(changing health, attitude, actions to recreate girls) to encourage women to speak their truths, focus on themselves and be inspired by the powerful woman around them to step up and not only prioritize their mental health & wellness but their eating, their exercise, their self care, their mental health and overall happiness.

Another important factor to add, is that it has been observed in women's fight for equality in the workforce,  that there are a lot of women that fall into the category of being a part of the “sandwich generation.” This generation of professional working women have been tasked with both caregiving for their children and their aging parents. This has caused breaks within their career paths and deferred promotions. This is particularly felt within the wealth gap of income disparity between men and women. Recently, I have noticed a corporate trend towards improving this disparity. Corporations are offering more flexible work hours to accommodate these “sandwich generation” working mothers.

One speaker that really spoke volumes to this exact subject was the Msimang TED talk, where she described a time in her life where she had something taken from her by the opposite gender and felt for the first time the extreme difference between a boy’s perspective and a girl’s perspective. A great quote from our actual syllabus by Chimamanda Ngozi Adichie was, “The problem with stereotypes is not that they are untrue but that they are incomplete. They make one story be the only story.” I enjoyed this quote because both the story by Msimang and the quote by Adichie, touch upon a common goal, equality in every form. Another element that really moved me within Msimang’s TED Talk was her inner passion for storytelling and really trying to capture what makes a good story. I also was really inspired by the TED Talk by Dalia Mogahed, a religious muslim that spoke heavily on the idea of Muslims within America. Although her topic wasn’t exactly about gender equality but more so about racism in general, she spoke about a time in her life when she felt embarrassed to not only be a muslim but also a female muslim. Her story about being scared for her life after the 9/11 attacks, was the first time in her life, she said, that she was afraid to be her true self. I felt for her in this way that I too, felt similar when walking down a city street by myself as a young adult female. Although the two are still very different, in the moment while watching her speak about her story, this was the first image that popped into my mind.

Most importantly, I enjoyed the TED Talk by Kavita Ramdas, with her extraordinary opener, which was: “ Given my TED profile, you might be expecting that I'm going to speak to you about the latest philanthropic trends -- the one that's currently got Wall Street and the World Bank buzzing -- how to invest in women, how to empower them, how to save them. Not me. I am interested in how women are saving us. They're saving us by redefining and re-imagining a future that defies and blurs accepted polarities, polarities we've taken for granted for a long time, like the ones between modernity and tradition, First World and Third World, oppression and opportunity.” This got me thinking more and more about gender equality as a whole and just how important and influential women are in society. Countries such as China, took a very long time to find this out, as many of new born baby girls were sold to the States for money because in their culture, “boys were the only ones that could work to bring the family up, girls are an embarrassment and are only here for one thing, reproduction.” However, after several years, they grew to know that they ended up needing more women because they were running out of women to bear children, hence the population drop in 2019 into 2020.

To combat that however, it has been proven through the last century that intellectually women are naturally more nurturing & emotionally smarter than men, just like the saying that “women develop maturity faster than men do”. So women tend to outshine men in industries such nursing.  However, men tend to rely more heavily on their physical strength in order to obtain certain jobs that are not typically where women fit into the picture such as construction and engineering. I, for one, have never viewed it like that because I have always believed that no matter the race or ethnicity, age, gender, religion, sexuality or financial standing, everyone deserves to work a job they love in any industry and that all judgement should be shoved out the window without reason.

In conclusion, I believe in the strength of women as a whole race to be able to one day never have to speak of women's rights. I envision a time within my life that women will have a seat at the table, they will be heard, understood and most importantly treated equal to men. I believe it starts with women empowering other women first and then men following that trend.

#gender equality #womansrights #womansadvocate

[mahalkitajohnnysuh]

Photography

Since I ruined the flow of my scheduled posts, I’m going to be more careful about it moving forward. 

Anyway, let’s get back to our regular programming with some Johnny and Essie goodness. Of course, a photo of Johnny with his camera is the perfect cover image for this story! 

Mahal ko kayong lahat! :) 

–––

Summary: Most NCTzens know, especially if they are Johfams, that The One and Only Johnny Suh is into photography. This piece is an ode to that, aside from being quite autobiographical. Don’t worry though, it isn’t anything dramatic or tear-jerking.

POV: 2nd person. 

Word count: 1.300 + words

Warning: Essie’s a bit angsty on this one because photography’s a sore subject to her. 

–––

Aside from his phone, Johnny never leaves the house without his camera.

It was one of the top-of-the-line point-and-shoot cameras, and whenever he went out with you, he always whipped it out to take photographs of just about anything that fancied him.

Most of the time, you would roll your eyes at him as he got down to business. He would crouch on bushes or squeeze himself in small spaces to get a perfect shot.

“Photography is art, darling,” he said with an obnoxious French accent, ignoring your sarcastic remarks. You would wait for him to finish taking photos before the two of you resumed walking to your destination.

Over time, you got used to it. You would wait for him by amusing yourself with your phone. You would either scroll through your social media or message your friends. If you weren’t doing either, you were writing on your Notes app.

Photography reminds me of my father was the latest thing you wrote, which Johnny was able to read over your shoulder.

“Really? How come?” His voice startled you, and you elbowed him on the gut. He winced in pain, and you apologized, absentmindedly rubbing the part you hurt him.

“Sorry, I didn’t mean to. And you surprised me,” you said. He gave you a thumbs-up first before he was able to compose himself. “So, will you answer my question again?”

Images of you and your father making your way through a busy crowd and taking photos resurfaced in your mind, along with memories of you two eating at a dingy Chinese restaurant after.

To be honest, you weren’t comfortable talking about it just yet.

You shook your head and gave him an apologetic smile. “I don’t feel sharing it now,” you said softly, turning on your heel and walking away from him.

Photography was definitely your father’s biggest influence on who you are now. Back in college, you were the girl always lugging around a DSLR. There were times that you brought two lenses and kept your other paraphernalia in a lunchbox.

You enjoyed fashion photography the best, often asking your classmates to pose for you and coming up with ideas for fashion editorials. You claimed to be a very visual person, considering you pored through every magazine lying on your couch when you were bored at home. Yes, that included men’s magazines that you weren’t supposed to be looking at when you were nine years old.

That was all in the past now, considering you sold your camera four years ago. Now you didn’t have one, and you didn’t feel as inspired taking photos with your phone.

It felt like there was a part of you that withered, eventually being replaced with other interests.

\\\

You were both amused and sad when friends have been posting the photographs you took during your hobby heyday.

One of them used it as her profile picture, while the other reposted an album of your photographs to prove something to her haters. You were tagged on their posts, and you had no choice but to like and comment on them.

If only I have my camera back, why not? I’ll get back to having more shoots with you guys was your comment, which once again Johnny saw as he walked behind you.

The two of you were at his apartment, just lounging around. You were waiting for Kibum and Ten to arrive so you could decide what to do after. Johnny was pacing in his apartment until he saw you typing away furiously on your phone.

“Oh, so you did photography work before!” You whipped your head to his direction and glared at him. “What about it?” You grumbled, going back to your response. You hit ‘Send’ and focused your attention on him.

“Show me your work, silly!” He plopped down beside you and leaned towards your phone. You moved a bit farther from him and clutched your phone towards your chest.

“No, I don’t want to. And it’s not that good,” you grumbled, getting a pillow with your free hand. Your other hand tightly gripped on your phone since you know how Johnny can be sneaky and grab things from you.

“Hey, don’t be like that. I’m sure you had beautiful photos if your friends want you to get back to it again,” he said softly, moving closer to you. “Please, may I look at your photographs?”

How could you say no when he practically looked like a pleading Puss in Boots in Shrek? He was even wearing an orange sweater to add to the effect.

“Fine,” you muttered, opening your Facebook app and scrolling through your albums. When you found the album where you showcased your photographs, he squealed in delight. Most of them were edited to have a vintage effect, but you knew what mattered to him the most was the feel of the photo.

You handed him your phone, and like an excited toddler, he scrolled through the images on the album. “Wow, these are great!” You heard him say a few seconds later. “Oh, this is beautiful! She looks like a fairy!” He showed you a photo of your friend, dressed in a brown chiffon dress, dramatically posing with an antique tree behind her.

“We almost got reported by the campus police for taking photographs without a permit,” you admitted, making him chuckle. “Sometimes, you’ve got to break the rules to get that perfect shot,” he said as he patted your shoulder.

Both of you browsed at your photo gallery, and he shared his feelings on most of them. He found them beautiful and even loved the editing you did on some of them. “Thanks, Youngho,” you said, slowly getting the phone from him. He noticed what you were doing and moved the phone toward him. “We aren’t done yet! You have more, right?” He was charming you to share more, but you knew that was enough.

You yanked the phone away and told him firmly: “That’s enough for today.”

An awkward silence filled the room, and you sulked in a corner. You wondered why photography was still a touchy subject with you, especially when you’re with your best friend.

\\\

One day, Johnny decided to give you a camera. Not just any camera, but his camera.

Your eyes widened in shock as he placed it on your hands. You were in his apartment again, hanging out like the clingy best friends that you are.  

“Take it, baby,” he said, moving your fingers so the camera doesn’t slip off your hands.

“But why though?” You looked at the device on your hands, which felt surreal.

“You need it. And I want you to take photos with me,” he tilted your chin so you could see the smile on his face. You could tell it was genuine, and it made you smile in return.

“But if you’re giving me this, then you don’t have one?” You peered into his bag and saw that he has another one.

“I’m giving you a brand new one. I still have mine,” he pointed to the model that was still in his bag.

“But this is too much! And this model’s expensive,” you started babbling, ignoring the thoughtful look he was giving you. “How on earth am I going to repay you?”

“There’s no need, consider it an early present from me. Happy birthday, Merry Christmas, and Happy New Year!” He greeted, laughing at how absurd it was to say those things at the end of October.

You placed the camera on the coffee table first before you hugged him. “Thank you Youngho, you’re the best,” you mumbled against his sweater.

“Anything for my sweet darling Essie,” he said, stroking your curly mane.

You remained in your intimate position for a moment until someone knocked on the door. “That must be Yuta,” he said, breaking away from the hug.

You watched him get the door, looking now and then at the camera that he gave you.

My dad would be proud, you thought. That could mean anything – your father would be proud that you’re getting back into the hobby, or he could be proud that you found a partner who loves it as much as he did.

–––

FIN

#nct drabbles #nct au #nct 127 fanfic #nct johnny #nct imagines #nct scenarios #johnny suh imagines #johnny suh scenarios #johnny imagines #johnny scenarios #johnny suh fluff #johnny suh au #johnny suh fanfiction #nct fluff #johnny suh

[onisiondrama]

(Note: I’m not repeating stories he’s told before and just putting them in parenthesis. I have a lot more videos to go until I’m caught up so that would save me a lot of time. If he gives details I never heard from him before, I will type those.)

“The “Onision Documentary” Is Falling Apart?” Speaks, September 30, 2020 (deleted)

- Says he was recently told a commentator was going crazy after him without talking to him. [it’s Repzion] They decided not to participate in a documentary that is going with the narrative they were previously pushing. - He says that’s like if someone asked him to participate in a documentary about Shane to talk about his experiences with him and he says no. He says most of his videos about Shane went to charity. They raised over $500 on UhOhBro. It wasn’t for himself [hm it seems like you did it so you could compare yourself to people who make money off of videos to invalidate their motive and message but ok], it was just for charity. It’s awesome to spread awareness and also give to charity so your message is pure, clear, and honest. [see? this is the shit I was talking about.] - Says Hansen said he refused to do an interview with him because it was out of respect for an alleged victim. He asks why did Hansen show up to his house and push for it for so long? A lot of weirdness going on in their realm. Says the major shift happened when he came out with the full story. - There was a chick who was a long time hater and he sent her a video of a person admitting to sexual extortion. She didn’t reply. She just went silent after seeing the evidence. 

This tweet shows up on screen:

- Says it’s a huge cover up and no one is admitting they made a mistake. They set a fire for no reason. Every day he still has to heal the burns and they walk away scot-free. - If someone asked him to make a documentary about being sexually extorted he’d say yes because he’d love to talk about how Sarah sexually extorted him. That’s real. She raped them twice. She walked out with a suitcase and walked down the road and stood there. Kai called her and asked if she was ok because he heard she walked out after James dumped with her. - People don’t care he has a mature, competent, intelligent person with a literal bachelors is psychology as a witness to everything he went though. [Kai] - He feels like he’s surrounded by flat Earthers. They’re convinced the most crazy and creepy scenario is true. - (Tobuscus story, Kai told him to stay quiet story) - Viewers don’t have to pick a side, but you have to acknowledge reality. People promised you Onision would go to prison and there was something on a laptop. Turned out there wasn’t. They said there was a child involved, no. There’s an FBI investigation, no. They promised you justice would be served yet the true criminal is still out there. The person who admitted in a livestream she raped him. She said it was a joke, but she specifically stated she would only sign a contract that she wouldn’t speak ill of him if he was to sleep with her. She admitted to it on her own stream in her own state. When someone tells you who they are, believe them. She told you she sexually extorted them. If they say if you don’t sleep with you, they’ll ruin your life, that’s rape. [uh so here is the actual livestream he’s talking about. Blackmail talk starts at 19 minutes.] - People ask him why don’t you go to the police? Sarah went to the police and they did nothing. The police said on a livestream they’re having trouble finding actual victims. [That’s before they got in contact with anyone. They had her name spelled wrong on a report when they were trying to get in contact with her.] - He called the cops when people trespassed and the police asked them to leave. - Feelings aren’t always based in reality. - He only slept with Sarah because she was forcing him through fear. [Isn’t it weird that in January he was saying he originally slept with her because he felt bad that Kai rejected her so many times. 🤔] Kai said he couldn’t do it anymore and shortly after he said the same and broke up with her. - If he looks one way or touches his face people say he lied. People don’t want to admit it was over since the beginning. She admitted to being the criminal when she was pretending to be the victim Apparently it was a joke. It’s like if you go to a bank, rob them, take their money. walk out, and then you say it’s a joke. - He has trouble letting new people into his life because humans are selfish and dishonest. They couldn’t see the truth if it was screaming in their face. The bias and amount of delusion that you have to feel to not see this for what it is. If you google “Onision” you’ll see nothing but absurd nonsense. - The first person was hauled away by police. (Shiloh police story) - Second person admitted to doing illegal drugs. - Third person sold drugs and plotted to marry someone to get them a green card. He says that’s a federal crime. [Did you not say you married someone you didn’t love just so you could get military benefits? That seems shady to me. Especially since there’s evidence online of you telling that person you loved them over and over. Seems like you manipulated someone so you could take advantage of benefits provided by tax payers money. Sorry, I am in a mood today if you can’t tell. These videos are getting to me.] They admitted to raping two people. - There’s all these crimes and people only want to hear that he did something. He’s a former US Air Force cops. When he calls the police it’s consistently a calm rational experience. The internet is hysterical and irrational. They smeared his name all over the place and made him out to be something he’s not. - Shane screamed he’s not a pedo at the camera and people celebrated him. Bashurverse screamed and cried when he was accused. Says he (James) made countless videos, in depth, describing details. People feel sorry for Shane and Bashurverse, but he’s still Youtube’s #1 villain. - The meltdown videos were financial compensation because his Patreon went down and he needed a way to fill the gap. He successfully did it because they were all monetized. He was almost parodying Shane and Bashurverse’s real meltdowns with his fake meltdown videos. He asks if people feel intellectually threatened by his behavior because of his acting? [He pretends to have a quick meltdown to show off his acting.] - Leafy and Keem tweeted he should be an actor. He can’t be hired an actor if the online community is brainwashed. If someone wants to hire he, he says it should be a villainous role. If you ask who is the greatest online villain of all time, the search results don’t lie. - He promotes his Twitch and says he’s normal there. Says you can watch his meltdown videos on loop for entertainment.

[the-bjd-community-confess]

Anon who showed some of my stuff to an old seamstress of 50+ years. 1st: I get it sounds like she didn’t like anything, but I just wanna repeat, she had some good things to say, I just didn’t know if anyone was interested in that part. I also didn’t show her all the clothes I have, most were the ones I needed help fixing, and the ones I’ve always had problems with, and I knew came from makers who have the typical “I’m so good, how dare you say anything bad about what I make? You’re just a hater anyway!”-attitude. I should also have mentioned that I didn’t bring all my stuff, it was a select few items I wanted her to look at, which came from some specific people, in a certain price range, and which I personally already had problems with. But I did only take recent purchases, bc Idk how much items would have been affected if I’d had them for a few years, just through natural wear and tear, and fabric behaviour.

2nd She actually used to make doll clothes, but for like, ceramic dolls, (the ones we think are creepy today) and other dolls for kids, she stopped sewing as much about 5 years ago, before that she’d make doll clothes for her grandchildren. She mostly fixes up things, or does small alterations now. She also used to work on very expensive traditional dresses, and mostly alterations for wedding dresses, for some years, and stopped about 10+ years ago, because of the stress. So she knows about a lot of the small stuff, and how delicate fabrics can, and will be. 3rd The clothes I own are more historical, or oldie in looks. So this woman actually knew quite a bit, and since she has worked on these types, and still had stuff from her mother, and grandmother. There were also things which were pretty clearly her own thoughts on some stuff, and some basic things she pointed out which had gone wrong, which you don’t really need historical, or special knowledge for. (Eg: What thread you use for the fabric.)

4th, Idk how many read the beginning, but I’ll supplement with some more info. The clothes I showed her were from makers, who claimed to be very good at their craft, and asked for a pretty high price, but then sent items, which Imo, were not worth the money I paid. The busted seams I mentioned in the beginning, were from a dress I hadn’t even put on a doll yet, and the most strain it had dealt with, was me unfolding it, and checking it over. Also, bc I didn’t mention it, but the seams were ones of the ones done with the wrong material thread, so it tore into the fabric, and somewhere between making it, and shipping, they busted. (Like, NOT busted as in pressed, but tearing through the fabric.) If you talk about how good you are, and how long you’ve worked with sewing, and that your doll clothes have a lot of attentions put into them, but then arrive looking like that, or have other big mistakes, and mistakes which could easily be fixed, or shouldn’t happen, it is gonna peeve off the people buying them. 5th. We are both very aware of it being difficult doing this as a hobby, but the thing is, if you start selling items, and they’re poor quality, or just not up to par for the price asked, I have no qualms letting someone rip into the items. And some items really had mistakes done, which shouldn’t happen with items I paid upwards from 100 dollar for. Most expensive item? Around 500 dollar?   There’s also the thing that it doesn’t matter where you learnt what you do, good quality can be produced by someone never formally taught, and shit quality can be made by someone who went to school for it. That doesn’t justify making poor quality items, and then asking an outrageous price for them, and not owning up to it. 6th. The reason I went to this woman, is because I’ve seen a lot of people have an attitude, or the idea that “You can’t criticise me, I’ve done this for X-amount of years!” so I decided I’d just ask someone who’d done this for 50+ years, since the argument of the “X-amount of years”-people always seemed to be kinda weak, and like… doing it for 50 years? She should definitely be “allowed” to speak her mind if that’s the case. If you feel personally attacked at that, Idk, maybe don’t sell things, if you know your quality isn’t good enough? Just my thoughts, since, again, I bought this, expecting some quality, and was disappointed, so I showed it to someone who could help me fix, and give feedback on the items. I mean, I’m genuinely salty about this stuff, it was expensive, and I get things that didn’t hold up the strain of even being put on, before it failed. Making something for yourself that, is not what we talked about, or how people shouldn’t make stuff. It was about items I had bought, it was not about stuff made by a hobbyist doing it for themselves. Items which were sold for high prices, and didn’t hold up. I have been working with this woman a little bit, and her critique is much kinder towards people who’re still learning, and she even helped me improve my own work. She would never be mean, or condescending towards anyone who asks for help, but since she I asked, and told her my situation, she was honest about the work she saw, and how it looked to her. And she was disappointed at how much I had paid, which was the main reason she was so ruthless in her assessment of the items. I also have some notes still left of the stuff she did like, for learning purposes, so if anyone wants to hear that.

~Anonymous

#BJD #ABJD #BJD Confessions #TrueBJDConfessions #BJD Fashion #BJD Crafting

[mag68dom]

The Comedian

Take the stage and begin.

Audience applause : Hey what's shaking y'all Audience greeting : I see a lot of y'all up in here knew what I was about to say before I got on this bitch. Audience Laughing : I see we gone have problems before the night is over. Audience laughing : You ever get in a relationship with a girl bad asf where you be afraid to use the bathroom. Audience laughing : I'm talking number 2 now audience laughing not number 1. What I just came out the pussy batting a thousand. Audience laughing : Shit don't y'all get it fucked up in here. Audience Laughing applause : Look at this one still giving me salty looks. Audience laughing : Nosey fuck face audience laughing : This one over there whispering to her friend I saw him already. (Spoken in a soft snobby voice). Audience laughing : Well if you saw my act already don't fuck up my punch line Audience Laughing : can I get a joke in. Audience laughing : I saw him already well why you ain't see yo ass in another show. Audience laughing : fucking up my little change here. I still got a room full of people who ain't seen this yet. (Comedian hunched over to the audience) You fucking hater. Audience laughing : Continuing on Audience Laughing applause: Yo I must was with my girl for four years and to this day and she couldn't tell you if I ever asked her if I took a shit during the relationship. Audience Laughing : Could you imagine someone walking up to your girl or just randomly ask has he ever taken number 2 during y'all relationship. Audience Laughing : You would have to be a fucked up individuals asking that. Like why the fuck are we friends. Audience Laughing applause: Now I'm fucked up over here tryna figure that shit out. Audience Laughing : ( Comedian twist his head looking up whispering 'how the fuck this motherfucker and became homies.) Audience Laughing : Wished Ida saw that coming Audience Laughing applause scattered crowds stand and applause.

A scene from the following Comedian

Give it up Audience Applause : How's everybody doing tonight. (Audience respond simultaneously) That's what I'm talking about I feel extra special tonight. Audience oh giggle. I just brought a new house for me and the family. Audience Applause: But before I actually signed off on it I said let me go block sit for a minute to see what's really good with the nice community I'm bout to move into. Audience Laughing: You know so just in case shit start to get different or all of a sudden brand new I can tell the difference out this bitch. Audience Laughing: Yeah because you get all kinds of different shit started once the new family hits the block. Audience Laughing: Like one time I had a bill collectors knock on my door looking for the last owner like they ain't get the memo that the house was sold and shit. Audience Laughing: they gonna say to me well I don't know who you are but will wait out here for who ever owns this property. I said go the fuck head. Audience Laughing. But I wish I hadn't ah said that. Audience Laughing: Because these mufucka turned out to be the gas people and turned off my gas. Audience Laughing: And what made it so bad is that after they came then the water people showed up looking for these same mufucka who peeled out of there. And do you know that these mufucka never came to the door they just got up in front of my home and stated digging. Audience Laughing: I'm in the bed with my girl I'm thinking she farting in her sleep. Audience Laughing: Hella year (@####fart expression) Audience Laughing : I go baby don't start that. Audience Laughing (Comedian twist his head twirling the microphone). Because she seems to do that when sleep be good asf. Audience Laughing: Like you ever be sleep but awake but more asleep. Audience Laughing: Like you could hear them in ya sleep, you sleeping they go I think he's still sleep I'll go check and the person looking for you go oh don't bother I'll be back. Audience Laughing: And my wife would always fuck shit up and come wake me up. I'm in my sleep bitch don't come waking me up. Audience Laughing Applause: Yeah good sleep like that. Any how they up front digging and no this time It wasn't my woman farting up a storm. Audience Laughing: You see that why I like to see the different day to day activities or traffic. Soon as we move in here come some bootleg contractors audience laughing: huh some bootleg contractors all jacked up attempting to put some work on behalf of the new neighbor shit. Audience Laughing: Neighbors see that then be looking to speculate the worst. Audience Laughing

A scene from the following comedian

[zutaralesbian]

001: Euphoria, Black Sails. 002: Rue/Jules. 003: Eleanor Guthrie, Jules Vaughn.

Already answered Black Sails! :)

Euphoria:

Favorite character: Jules. This was initially born out of spite because of all the ridiculous hate she got but the more I thought about it, the more I realized that she really is my fave. Despite what a lot of people say, I think she's genuinely one of the nicer people on the show. But she just has a lot of her own issues and is still trying to find herself. I feel very protective of her lol. Rue is a close second fave though.

Least Favorite character: Probably Cal Jacobs

5 Favorite ships (canon or non-canon): Rue/Jules, Cassie/Maddy, and Kat/Ethan. That's it really.

Character I find most attractive: None of them really. I think Rue and Jules are both really pretty but they're minors. And Zendaya and Hunter are also both a little too young for me.

Character I would marry: None of them. They're kids.

Character I would be best friends with: Lexi is probably the one I'd get along with best, honestly. But I also kind of feel like Jules is one of those extroverts who would adopt introverts as her friends and that's how 99% of my school friendships started, including the one with my best friend lol.

a random thought: I can't believe they really made Zendaya read L*rry fanfiction out loud lmao

An unpopular opinion: Eh....I can't really think of anything other than loving Jules and believing that she isn't any more "toxic" than most of the other characters lol. But idk how unpopular that is. There are a lot of Jules haters but she also has a good amount of stans.

My Canon OTP: Rue/Jules. I just want them both happy :(

My Non-canon OTP: Cassie/Maddy. Maddy needs to ditch Nate and date her soulmate.

Most Badass Character: Rue. Her confrontation with Nate in the finale was iconic. I hope she wrecks his shit next season.

Most Epic Villain: "Epic" is a strong word but I actually do think Nate is kind of interesting as a villain. He falls into the "love to hate him" categories of villains for me. I think it's partly because I think Jacob Elordi is one of the strongest actors on the show. It probably helps that other than following certain blogs and venturing into the Jules Vaughn and Rue x Jules tags, I'm not too involved in the fandom. So idk how rampant Nate woobifying is other than the fact that there are some freaks who ship him with Jules.

Pairing I am not a fan of: Jules/Nate 🤢 Luckily I don't think it's THAT rampant yet

Character I feel the writers screwed up (in one way or another): Kat's characterization got a little crazy for a while there but I don't think she was screwed up per se.

Favourite Friendship: I'd say Cassie/Maddy but I also ship it romantically lol. Um....I'll go with Rue/Fez even if I do find it kind of problematic considering he was her drug dealer.

Character I most identify with: Kat. I didn't really grow up as a fat girl (though I'm far from being skinny) but the whole thing with her getting lost in online fandoms and fictional worlds to cope with her loneliness is something that I think a lot of us can relate to.

Character I wish I could be: Eh....none really lol

Rue/Jules:

When I started shipping them: I think it was 1x02 that sold me on the ship. It was strange because they met, became friends, and started developing feelings really fast and I usually can't get into ships like that. But something about their chemistry and dynamic really speaks to me and makes me melt.

My thoughts: They are an unhealthy relationship but NOT an abusive one. And they have potential to become healthy if they both work out their own problems as individuals. It's clear that they both care about each other a lot and when things are good between them, it really is good. They have a lot of potential to make each other happy and give the other what they need. And their chemistry is so good and tender. They make me soft in both the best and worst ways.

What makes me happy about them: That they get so much screen time together, more so than any other pair.

What makes me sad about them: That they're both so lost and troubled atm :(

Things done in fanfic that annoys me: There isn't a ton of Euphoria fic yet and I've only read like two Rue/Jules fics lol. So nothing.

Things I look for in fanfic: I'd love to read some established relationship fics with the two of them that take place where they're both in healthier places. I have an idea in my head of one taking place during their college years where they're both juggling school, their mental health, and having a relationship with each other. Maybe one day I'll write it lol

My wishlist: For them to both grow and heal and characters and then eventually come back together stronger.

Who I’d be comfortable them ending up with, if not each other: I don't really ship either of them with anyone else. For Rue I might have said Lexi if the shippers didn't make me resent the pairing so much.

My happily ever after for them: The two of them finish high school and go to college while attending therapy. Somewhere down the line, they move to New York City and get their own apartment together. They also get a cat. (It's Jules' idea. Rue is initially kind of grumpy about it because cats could have fleas and they have to clean the litter box. But she eventually grows to love it just as much as Jules). And they're both happy.

Eleanor Guthrie:

How I feel about this character: I love Eleanor so, so much and I'm sad about her always. I loved her right from her very first appearance on the show and I so wish she had gotten a better ending.

Any/all the people I ship romantically with this character: Max. I don't know how I ended up loving a ship that broke up romantically in the second episode of the show so much but I do. And I loved that they became friends again before the end and that their importance to each other was never truly forgotten. I also dig Miranda/Eleanor as a crack ship. And Eleanor/Mrs. Hudson.

My favorite non-romantic relationship for this character: Flint. I loved how much respect they always had for each other, even when they were technically on different sides. I also really wish we had gotten some sort of Eleanor/Anne dynamic outside of those scenes in S1. Even if the dynamic ended up not being entirely positive, I wanted some more interaction between the two of them lol.

My unpopular opinion about this character: She was killed at least partly for manpain. People can argue all they want but they literally made her pregnant just to make her death more painful for Rogers.

One thing I wish would happen / had happened with this character in canon: That she hadn't died. I also would have liked to see her with another woman if we couldn't get more Maxanor. It's unfair that after Max (which didn't last long) we only got to see her with two shitty men.

Favorite friendship for this character: I liked her scenes with Madi in late S4 and I wish we could've seen more of that dynamic. Eleanor died trying to save her :(

My crossover ship: I don't do crossovers. But I've seen the fandom pass off the idea of Eleanor/Elizabeth Swann from POTC a few times and I think that's sort of intriguing.

Jules Vaughn:

How I feel about this character: I love her a lot and I feel like she's very misunderstood. As I said before, I believe she's one of the genuinely nicer characters on the show but has a lot of her own shit and problems to deal with. I think some people are way harder on her than they are other characters and that annoys me.

Any/all the people I ship romantically with this character: Rue and that's it.

My favorite non-romantic relationship for this character:  We don't see a lot of it but her friendship with Kat seems cute. I also like her dad.

My unpopular opinion about this character: Whenever people bring up Rue/Jules being unhealthy, they always cite Jules as the only reason it's unhealthy and I don't think that's fair. Rue literally makes herself dependant on Jules to stay sober and that's a lot of unfair pressure to put on a teenager, especially one that's dealing with her own problems.

One thing I wish would happen / had happened with this character in canon: That she hadn't slept with Cal Jacobs. That scene was so gross and made me uncomfortable. I get that hooking up with married men is a by-product of a self esteem issue for her but at the very least, I didn't need to see it.

Favorite friendship for this character: Kat again.

My crossover ship: NA

Thanks! :)

#euphoria #rue x jules #rules #eleanor guthrie #answered #lylagarritysgf #long post /