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afewproblems · 1 year

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I want Steve to find out about the simultaneous games that happened at the beginning of season 4.

That Eddie insisted that the hellfire session went on as scheduled, despite the fact that Lucas wouldn't be able to make it.

Lucas, one of Steve's kids, who Steve had defended from being beaten up, putting himself in the line of fire from that racist asshole Billy Hargrove.

Lucas, who had been pushed aside and alienated from his longtime friends just because he also liked sports and wanted to try and remain afloat in the ocean of high school.

Lucas, who loved his friends and and enjoyed different things, because spoiler alert you can in fact be a jock and like Dungeons and Beasts or whatever the hell it was called. Steve enjoyed Star Wars and could dunk, proof right there.

But all it took was one word from Eddie, and Dustin and Mike not only didn't go to Lucas's game, but they couldn't even be happy for him about the championship AND their final session of their long-term campaign went on as scheduled despite the absence of the oldest Sinclair.

Sure Jason Carver turned out to be a crazy asshole but Steve knew exactly how it felt to be caught between worlds and the biggest difference was that Lucas had always been a good person.

Unlike him.

One nice thing about his King Steve days was that he knew how to push, and he could turn it on for a day, just to knock some sense into a certain curly haired metal head.

"Hang back a sec man," Steve says almost casually as they exit Eddie's van after pulling into the movie theater. The kids tumble out of the open doors and race towards the building, pushing each other in their hurry to get in line for the second running of Highlander.

"What's up Stevie?" Eddie says, his dimpled grin comes out in full force as he looks Steve up and down, leaning back again the front of the vehicle grill. His arms cross loosely over his Black Sabath shirt and the various rings and chains sparkle in the high afternoon sun. He looks great today.

Focus Steve.

He clears his throat and sighs, trying to get into the heads pace from earlier when he initially found out what happened from Dustin. He had been absolutely furious.

But the flame of righteous fury had dissipated, leaving behind a cold feeling of disappointment in Eddie. It hung heavy and immovable in his chest, he needed to talk to him.

"Hey uh, I heard about the championship game man, Lucas's game".

Eddie tilts his head slightly, his brown doe eyes scanning Steve's face with confusion.

"What the basketball game back in March? That was like six months ago man? What about it?"

"Did you ever apologize to Lucas?" Steve asks, he keeps his face neutral, not wanting to influence the answer as Eddie scoffs. Not a great sign.

"For what Harrington?" And that stings a little, he'd been Stevie for the last two months or so, sometimes a Honey or Sweetheart thrown into the mix and Steve felt that they were barreling their way towards something new.

Steve swallows, he can't let this go, not even for Eddie.

"It was a shit thing to do man, to not let Lucas play and to not let Dustin and Mike go to support him--"

"Those kids know that the campaign comes first, that's the first tenant of Hellfire and they know that going in!" Eddie snarls, he steps forward towards Steve who holds his ground with narrowed eyes.

Fine.

"I thought you were above that sort of thing Munson, judging people for the things they like? Assuming things about a person and writing them off".

Eddie stops, his face paling slightly, his angry expression flickers once but remains in place as he crosses his arms again.

"Those games can't be rescheduled man," Steve continues with a shake of his head, "it's not even the school that decides the schedule for the season, it's the districts and the coaches, and who fucking cares if he was on the bench for most of the season? Because he played! And none of you were there".

Steve sighs and runs a tired hand over his face, "Not even his friends who he has known since pre-school. And with Will gone and Max dealing with all that shift from Starcourt and Vecna it was just the three of them, and you took that from him man".

Eddie stares at him, he says nothing, he doesn't even look like he's breathing right now and Steve feels like shit.

"I'm just saying, if you do that again, to any of them, to my kids," Steve says matter of factly, "then we'll have a problem".

"That supposed to be a threat, King Steve?" Eddie sneers at him, but his shoulders are dropping, and there is no true heat behind the words.

Steve shakes his head as Mike pops out of the double doors of the entrance and yells at the pair of them to, shit or get off the pot because what hell is taking them so long?

"No Eddie, it's not a threat because I'm hoping that you'll do the right thing. Because I know you love those kids and you're not an asshole".

He turns on his heel and heads towards the doors, leaving Eddie with the empty van. His heart thumps wildly in his chest, and the cold feeling in his chest spreads and spreads as he goes over the conversation again and again.

It stings a little to know that he's ruined whatever he had with Eddie but he couldn't let this go, friends don't lie after all.

He grabs their tickets, still buying one for Eddie --just in case, though the other man has not entered the building.

Steve tamps down the tight feeling of disappointment that grows the longer Eddie remains outside. If Eddie takes off, leaving them there, Steve can cover, he'll get Nancy to pick them up or maybe Jonathan --they're on better footing these days. He'll say Eddie had some kind of emergency come up, that Wayne needed him for something.

Yeah, friends didn't lie, but how could he break the kids' hearts like this?

They thankfully don't seem to pick up on this as they chatter about Sean Connery and what flavor of soda to get.

"Oh there you are dude! We thought you got kidnapped!" Dustin suddenly crows beside Steve, he turns to see Eddie behind him, a strange expression on his face.

Oh thank God.

"Nah, just had a quick smoke before the movie man, uh actually I wanted to borrow Lucas for a sec if that's cool?"

The kids look from Eddie to Steve, as though to check if he knows what's going on, Eddie hasn't been this shifty since March when Chrissy's death hit the news.

Steve nudges Lucas by the shoulder, leaning slightly down to say, "I'll grab your snacks, go on".

Lucas gives him a confused look over his shoulder before following Eddie outside the entrance the doors swing closed just as Dustin whirls on Steve.

"What the hell was that!" He demands with crossed arms and a scowl on his face, his blue eyes scanning Steve's own for something, some information about what is going on outside.

"Yeah, you guys are being weird," Mike snarks from over his shoulder, he's standing with Will and El who watch the interaction with curious eyes, "first you take forever to come in and now this?"

And so much for the kids not picking up on it.

"You guys are pretty nosy," Steve hums, deflecting with a small smile as he ruffles Dustin's curls and steps forward with the rest of the line.

Dustin glares with narrowed eyes and huffs, "Fine, I'll just ask Lucas about it".

Steve snorts, he isn't sure if the kids have even talked about it. They've all been friends long enough now that this one event wouldn't be enough to hurt this kind of friendship. But it's certainly been on Dustin's mind since he was the one to bring it up to Steve that morning.

"Good idea," Steve says with a smile as he steps up the the counter, he looks at the kids before smiling at the clerk, "okay what's everyone having, let her know".

***

The lights have dimmed and the pre-show has started by the time Eddie and Lucas make their way over to the seats Steve and the kids have saved. Steve hands Lucas his popcorn and soda, sprite and orange crush mixed, as he makes his way over to the empty seat beside Dustin. There is a wide smile on his face, and it startles Steve slightly as he realizes he hasn't seen Lucas with one around Eddie in months.

His heart hurts at the thought.

Eddie drops down beside Steve, blowing out a long slow sigh as he does.

He scrubs a pair of ringed hands over his face roughly before finally relaxing into the shitty theater seat and reaching over to snag a handful of popcorn from Steve's bag, spilling kernels all over the place.

Steve rolls his eyes and tips the bag closer to Eddie who immediately grabs a second handful.

Eddie is facing the screen, but his eyes are trained on the seat in front of him, the projection illuminates his face in whites, yellows, greens, and blues as the movie begins and Steve can't look away.

He eventually tips his face towards Steve, "You were right," Eddie murmurs before finally taking in the screen as he looks away again. Even though he's sitting nearly boneless and slumped in the seat, his shoulders are tense, upset.

Guilty.

"I'm glad," Steve whispers, and he is.

The icy feeling of disappointment that held his chest in a tight vice grip all morning finally loosens as he leans into the armrest and feels the warmth of Eddie's shoulder soak into his own.

"Thanks Steve," Eddie whispers, his warm breath ghosting over Steve's ear as leans closer, letting their hands brush in the darkness of the theater.

Steve closes his eyes, and lets himself bask in the warmth, even for just a moment.

#steve harrington #stranger things season 4 #everyone lives #protective steve harrington #mom!steve harrington #eddie munson #eddie isn't a bad guy but it was pretty shit how he treated lucas in volume one #the party #pre steddie #dancing around one another #hurt feelings #slight angst #where is all this angst coming from???#I dont think steve would have been very happy if he had found out in the show that dustin and mike had ditched lucas #but they are teenages so they get a bit more of a pass when it comes to this sort of thing

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luuurien · 1 year

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RAYE - My 21st Century Blues

(Pop Rap, Contemporary R&B, Pop Soul)

Now an independent artist and in full control of her artistry, RAYE’s ambitious debut album is a messy but lovable collection of introspective pop songs where her many different goals coalesce into a larger whole that doesn’t quite ever make it clear what she wants to do. By trying to do a little bit of everything, My 21st Century Blues struggles to say much at all.

☆☆☆

Rachel Keen has done lots in her years as a musician, yet it’s not until now that she has been able to release her debut. Signed to Polydor at 17, they put strict limitations on what she could do with her career and refused to let her release her first album, trapping her in the world of singles and EP’s that stifled her artistry and made it impossible for her to gain enough traction to meet their qualifications at all. Now, after parting ways in 2021, she has the independence and power to release her debut album My 21st Century Blues, recounting everything she couldn’t say in her time with Polydor and what the future of her music as RAYE might look like. In concept, it’s a massively empowering and artistically exhilarating moment for Keen, her refusal to distort her vision for the industry leading her to absolute freedom and the ability to do whatever she likes in every part of her music and say whatever she’d like. In its full 47 minutes, though, My 21st Century Blues has trouble saying anything specific, Keen jumping from statements on her time under an oppressive label to personal struggles and her encounters with abuse to sweet love songs with abandon, touching upon many topics but never finding a throughline to connect them all. In turn, the album can be a bit of a drag to sit through even if its songs tend to be well put together and enjoyable to listen to, My 21st Century Blues presenting itself more like a collage of how Keen bounces between genres and ideas than anything else and losing out on the full emotional punch of many ideas when one is so isolated from the next (on occasion, the songs themselves are just kind of bad overall). It’s not a bad debut for Keen by any means, but she makes it hard to figure out exactly what she wants to achieve as RAYE in the future. In its strongest moments, Keen melds her detailed and passionate songwriting with production weighty and detailed enough to match it. Largely produced by Keen herself and pop heavyweight Mike Sabath, Keen takes advantage of his boisterous and dramatic style without succumbing to the pitfalls of the one-dimensional radio pop he’s previously had a hand in (you can find him on tracks like Meghan Trainor’s Wave and Shawn Mendes’ It’ll Be Okay). Keen’s often conversational vocal delivery in her songs lends itself to these thick, blurry blocks of instrumentation, the Ibiza house of Black Mascara darkened by a tense rap verse that directly confronts a man who’d spiked a drink in the past that brings depth and greater weight to the oppressive vocal layers and thumping four-on-the-floor, while breakout single Escapism indulges in whining G-funk synths and a fantastically heavy drum groove perfectly fit for the seductive and venomous bender she goes on after a breakup and the regrets that come the morning after, Keen’s range as a performer broader than most and allowing her to bounce around different genres without sacrificing her personality or storytelling in the process. Her writing can, at times, feel like it’s a hammer stamping every emotion straight down onto a song even when the production and her vocals imply subtlety and detail - I’m thinking particularly of Body Dysmorphia and how it discusses eating disorders so plainly even when the drowsy beat pines for something less linear and the self-described “...love song to {her} addiction” Mary Jane where Sabath’s minimalist production causes lines like “You're a stone cold bitch in the morning, aren't you?” or “And I bought three bottles 'cause I tend to drink you dry” to lose any impact when Keen’s singing them so straight - but overall the two of them find a strong balance between mainstream-friendly pop songcraft and the sinister energy Keen’s looking to unleash after years of being locked under a label. When she lightens up the production with pop soul numbers like The Thrill Is Gone and Worth It, it undeniably feels like a comfort zone and lacks much of the scene-setting the rest of My 21st Century Blues thrives on, but she makes great use of these smoother soul numbers to provide breathing room in the tracklist and show off her powerhouse vocals (especially in the finals chorus of Worth It). The unevenness in style and tone throughout My 21st Century Blues affects the album as a whole, but on a track-by-track basis and looking at Keen’s raw talent as a producer and vocalist, there’s lots to love about everything she brings to the table here. But this is still a 47 minute listen in full, and with that Keen’s broad stylistic strokes and scattered pacing throughout the album causes it to drag in ways that feel strange when much of the album is always steadfastly moving forward. There’s a disconnect in feel from track to track when it seems like each song doesn’t have much of a connection to the next, most notably in the core of the album where dark ballad Ice Cream Man is situated between the woozy pop soul of The Thrill Is Gone and spiky rap cut Flip a Switch, Ice Cream Man stuffed between two tracks with no relation to it and causing so much of its emotional weight to be smothered as a result, Keen giving you no time to process the story of abuse and reclaiming her power in one of the album’s most vital moments. Keen has referred to the album during interviews as “songs I’ve had for years but was never encouraged to share,” and though hearing so many sides of Keen at once is often beautiful, it turns the album more into a collage than a singular listen, fit for you to pick some favorites from rather than sit with from front to back when no one feeling is able to be engaged with for longer than three or four minutes at a time. These songs all feel particularly charged in their individual lanes - drama laden R&B, swooning pop, infectious UK rap - but My 21st Century Blues never finds a way to unite all these ideas under one goal, and when the topic matter and mood of these songs shifts so wildly, it’s difficult to gain much of an emotional connection to the album as a whole. For what it lacks in clarity and meticulousness, My 21st Century Blues brings vibrance out of every side of Keen’s artistry, showing off not only how comfortable she is in trying new things but how she can modulate between styles and keep the foundations of her music intact. She’s refused to let the industry mold her, and part of the joy of this album is hearing Keen prove to both herself and the label she left how invaluable her talents are and how much she can do when given the opportunity. She’s inventive in her approach to modern pop and R&B blends and how she can fuse those ideals into whatever she likes, be it brooding house-pop or a gospel finale about shaking ass, My 21st Century Blues encapsulating a little bit of everything that makes RAYE - that alone makes it more than worth a bit of your time.

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