#Shawn spender | Explore Tumblr Posts and Blogs

shawnpetermuffins · 5 years

Text

Pictured with You (Epilouge)

A/n: we have come to an end to this story of mine. Thank you for sticking around for so long.

Summary: It's been a year, and you're looking for something to do on this week long vacation.

Warnings: fluff

Word count: 1.9k

***

One year later

We wanted a week away from the craziness. Just one week for ourselves and our friends to hang out and not care about having to work - me on the finishing touches of the new album, which I'm actually stressing about right now because y/n still knows next to nothing about it. And that's stupid of me because literally every song is about her and if she tells me she doesn't want that then I'm screwed because I have nothing else to give the label.

She's kicking her feet softly from the edge of the pool, looking nothing less than breathtaking as the blinding sun hits her body just right. I swim away from my friends and to my rightful spot between her legs. Y/n looks down at me when I press a gentle kiss to the tops of her thighs. "Whatcha thinking about, love?"

She hums, running a lazy finger down the column of my neck. "Nothing. Just like watching you have fun, is all."

"It'd be more fun if you got in with me."

"I think you have attachment issues, Mendes."

"Yeah?" I bite playfully at her knee and she laughs, trying to push my head away. "Might have a point there… but I'm not gonna fix that."

"Gonna cling to me more?" She teases as my hands snake around her body, resting softly on the curve of her butt.

"Mmm…" I mumble against her neck. "Never gonna stop clinging to you. Gonna hold you like this forever and ever."

"Don't threaten me with a good time."

"Get in with me," I beg, jutting out my bottom lip as her hands lace through my wet curls. "I'll carry you." That gets her attention.

"Okay," she nods. "Well get me in, rockstar." I smile up at her and swiftly, but carefully bring her down into the pool with me. She shudders at the feel of the cool water against her warm skin. "Fucking hell, it's cold!" Her teeth chatter as she rests her head on my shoulder, arms wrapping tightly around my neck to steal my body heat. We stay like for minute, allowing her to get used to the unfamiliar temperature. "We're good," she mumbles and I slowly move us over to our friends who are goofing around, splashing each other.

"Oh good, she came to join us!" Brian exclaims. Before I know it, y/n is tugged from my arms and being spun around until she's finally thrown into the pool, completely submerged in the chlorine filled water. "There," Brian says triumphantly, with a laugh. "Now you're on our level."

She pushes her baby hairs out of her face with a shake of her head and an exaggerated eye roll, "so thoughtful, Bri. Thanks for that." She splash him once before taking my outstretched hand.

"Sorry, honey," I mumble into her hair, pressing her back to my front. "He caught me off guard."

"S'okay." Her head rests against my chest as we watch them make fools of themselves, not a care in the world. I whisper the words of the song playing into her ear and she falls deeper into me, wrapping my arms tighter around her waist.

"Y/n/n?" I say after a while of comfortable silence drifting between us.

"Shawny," she scrunches up her nose, hating the cutesy nickname, but she can't help that it comes out when she's a little tipsy. I love it though, and kiss the tip of her nose.

"Move in with me," I request, my head buried in her neck.

"What?" She giggles, turning in my arms.

"Move in with me," I say again.

"Where's this coming from?" She wraps her arms around my neck once again.

I shrug, "I mean, you've been going over there a lot more often recently. And… I have a drawer full of your clothes already."

She hums, "well I think I'd need more than just a drawer if we decided to do this."

"I'll get you your own damn closet if you want."

"You'd have to move houses if you did that."

"Then let's look for one. We can find one with a closet just for you, and we can make you your own dark room."

"Whoa there, big spender. That's a big commitment. You sure you can handle all that?"

I nod, "Yes. Hell, I'm ready to marry you right now if you say yes."

She looks up at me with a smirk. "you asking me something, Mendes?"

"Depends on what your answer is," I counter. "What do you say, honey? Will you marry me?"

"I think… my answer is… yes."

"Yes?"

"Yes," she nods, a big smile on her face.

I laugh, pressing my forehead against hers before kissing her deeply. "Oh god, baby. I love you."

"I love you too."

"Let's do it tonight," I plead, my eyes closed.

"Tonight?"

"Yeah. Let's fly out to Vegas and just get married."

"You really want to? I don't even have a dress."

"We'll get you something there. Come on, y/n. Say yes?"

"You," she pokes my chest with her pointer finger, "are completely insane."

I shake my head, "is that your way of saying you'll do it?"

"Well duh," she rolls her eyes as if it was the most obvious thing that we were gonna do this.

"Yo, what is with you two? Do you ever let go of each other?" Connor asks, splashing us.

I hold y/n's head against my chest before I ask. "You guys down for a quick road trip?"

"Where?" Brian asks, shaking out his wet hair.

"Vegas," I say with a cheeky grin.

"What's that look? What are you planning?" Connor questions.

"Y'all feel like being witnesses to a wedding?" Y/n asks, sparing only the smallest of glances to our friends. They're in complete shock. But it only takes a second before they're jumping on top of us, screaming out congratulations.

"Shit, let's go! We hit the road now, we can be there just after sunset." Brian is already pulling himself out of the water.

---

"Nervous?" Brian claps my shoulder while I fix the collar of my shirt.

I chuckle, "dude, my heart feels like it's about to burst out of my chest. I've never been more nervous in my entire life."

"Well what's that thing you always say? Nerves mean you care?"

"Yeah," I nod. "But, god, man. I'm getting married. Did you ever think that was gonna happen? Like this, no less?"

"Hey," he holds the sides of my face and slaps my cheeks. "Don't stress about it. The love of your life is just on the other side of that door. You're just minutes away from your forever. This is going to be the best day of your life."

I swallow the lump forming in my throat, "Yeah. You're right. It's y/n." I can't help but laugh. Because I say it like I'm not still a nervous wreck every time she looks at me. Like my heart doesn't skip a beat every time she smiles. Like I don't forget what I'm about to say because I get lost in those piercing -

The door opens and Connor starts walking down the aisle, arm linked with y/n's, and I swear my breath catches in my throat. She looks beautiful in the white blouse we just got her, and the high waisted, ripped jeans that she insisted on wearing because a skirt was just not her. And I agreed, but to be fair she could tell me she wanted to wear a paper bag and I would have went along with it because I just want her. It's not until she's in front of me, wiping at my cheek that I realize I've been crying watching her walk toward me.

"Hey, come on, bub. Marrying me can't be that bad," she jokes.

I laugh, wiping roughly at my face, "Jesus, no. You're just so beautiful."

She flips her hair playfully, "Well then what are you waiting for, Mendes? You gonna marry me or not?"

Mendes. She's about to be a Mendes, and I can't wait.

---

I wake up the next morning, sheets thrown haphazardly over me and the beautiful girl in my arms. I watch her figure for a few minutes, once I've adjusted to the bright light the sun brings into the room. Her hair is all over the place, but still framing her face perfectly as her eyes moved rapidly behind her eyelids. Her naked chest is just barely covered by the white bedsheets, one arm thrown over her stomach. And then my eyes land on that dainty ring she fell in love with the second I slipped it on her finger last night and it hits me that I'm laying in bed next to my wife. And I let myself think about how I get to wake up next to her forever. It's the most perfect moment.

Until my phone rings beside me and suddenly it isn't anymore.

"Hey, Andrew," I whisper as I answer his FaceTime call.

"WHAT IS THIS I'M SEEING ABOUT YOU GETTING MARRIED?!" Andrew's loud voice booms through my phone and I flinch because y/n stirs beside me.

"Shh…" I point my phone to my girl who is still sleeping, thankfully.

"You got married. Don't you think that's something you should tell your manager so that he's not blindsided early the next morning by all of these pap photos and articles and hundreds of texts and emails asking if it's true?"

"Well I am sorry I didn't tell you."

"So you did? Shawn, what were you thinking? This is everywhere right now."

"I was thinking that I have the most perfect woman by my side and I want nothing more than to spend the rest of my life with her and that I wanted the rest of my life to start right then and there. That's what I was thinking. I'm sorry I didn't tell you and I'm sorry that it's online. But I'm not sorry it happened. I have everything I've ever wanted right here next to me." I look over to see y/n looking up at me with a sleepy smile.

"Shawn," my manager tries to grab my attention, but I can't seem to focus on anything other than the smiling woman next to me.

"If you'll excuse me. My wife just woke up and I would like to give her a proper good morning." I shut my phone off and reach over to brush a strand of hair from my girl's face. "Hey there, beautiful." I say quietly and lean down to press a soft kiss to her lips.

She hums, "good morning, handsome."

"Sleep well? You were… very tired last night," I say with a smirk and she moves to slap me, but I'm quick to catch her wrist.

"Nuh-uh, Mrs. Mendes." She giggles into my chest. "What? What's so funny?"

"Nothing," she shook her head, her hands on either side of my face. "It's just the first time I've heard it like that. I like it."

"Me too."

"So Andrew's mad."

I shrug. "He'll get over it. Now come cuddle," I lay on my beck and open my arms for her. It doesn't take long for her to shrink into my side, head on my chest.

"You still want to be married to me?" She murmurs, half asleep once again.

I press my lips to the crown of her head, "for the rest of my life, baby."

4,124,543 likes

Shawnmendes mea vita = my life 💍

**comments have been disabled**

***

Tags: @curlyshawny @anamariel2301 @shawns-badreputation @bbellbagel @turtoix @ivegotparticulartaste @tomshufflepuff @dino-16-avocado @sleepybesson

PWY TAG:

@lifeoftheparty74 @learning-howto-be-myselfx3 @alinaxxshawn @rosesfromcth @5-seconds-of-mendes @sweetheartmendes @shawnwyr @strangerliaa @xoxohannahlee @thenovarose @justanotherfangurl272 @particularmila @buckwildflower @shawnmendes048 @itrocksmysocks

That's it, guys!! Thank you for reading!!! Like, reblog, and leave feedback!! 💙💙

#pictured with you #shawn mendes #shawn peter raul #shawn mendes blurb #shawn mendes imagine #shawn mendes one shot #shawn mendes fanfiction #shawn mendes angst #shawn mendes fluff #shawn mendes smut #smfsource

153 notes · View notes

rawiswhore · 4 years

Text

Triple H x Fem Reader- “My Heart Belongs To Daddy”

Happy Valentine’s Day!

________________________________________________________________

The year is 2003.

The former World Wrestling Federation has now changed its name to World Wrestling Entertainment, all thanks to the World Wildlife Foundation.

While the most famous wrestling company in the world, the company people ALWAYS think of when people think about pro wrestling or even wrestling in general, has changed its name, it hasn't changed the way it's been for the past couple of years, at least for the most part anyway.

It's still bloody and violent, it's still okay for wrestlers to swear, and it's still okay for divas to rip their clothes off until the only thing they're wearing is lingerie.

Speaking of lingerie, you were a top star during the late 90's Attitude Era, however, you left the company in the year 2000, due to suffering from a real life sex addiction and depression.

What does this have to do with lingerie, though?

In 2002, before you made a huge comeback to the WWE which would increase a huge boost in the ratings, you sang and performed at the Pussycat Dolls burlesque show, alongside other female celebrities like Christina Aguilera, Gwen Stefani and Carmen Electra.

Much like Christina and Gwen, you sang some of the same "burlesque"/"old school hoe anthem" songs they had sang (Peggy Lee's "Fever" and "Big Spender" from "Sweet Charity").

And not just that, you also had sang and performed some other 20th Century songs that some other female celebrities would sing there, some of which didn't sound very vintage burlesque-like, but they were your idea.

When you returned to the WWE in 2003 (that rhymed), you kept your slutty nymphomaniac gimmick during the late 90's Attitude Era, however, since you were a talented singer and performer and previously a Pussycat Doll, one thing you did during the WWE was sing.

Yes, sing.

And have little musical numbers where you would sing to some pro wrestlers.

And tonight, you were going to sing to a certain pro wrestler.

Who was that pro wrestler?

The one responsible for giving you a career, Triple H.

Speaking of Triple H, many pro wrestlers go through several gimmick and character changes. Just ask Stone Cold Steve Austin. Just ask Mick Foley. Just ask Billy Gunn.

And Triple H is one of them.

He went from a classy, haughty 1800's blueblood gentleman to a 1990's frat boy making obscene gestures (complete with an equally obscene and now iconic catchphrase) and blatant sexual innuendo to a denim clad biker, now his latest gimmick seems to be a rich "Entourage"-esque playboy accompanied by someone he's influenced by (Ric Flair) and two up and coming WWE stars (Randy Orton and Batista).

Looking at him now, dressed in those JC Penney's pantsuits and sunglasses, being shown walking out of limos with his entourage dressed in similar attire, surrounded and smothered by sexy women in skimpy cocktail dresses, or even backstage in the WWE drinking champagne and buying expensive cars, he looks all the most like a sugar daddy.

And tonight, you were going to sing an iconic sugar daddy anthem that you used to sing at the Pussycat Dolls burlesque show.

While Triple H and his team known as Evolution were in the ring, dressed in those pantsuits and just talking, some music started playing.

And it wasn't your entrance music the crowd recognizes.

A silhouette of a sexy female figure was shown underneath the titantron, the figure had a body similar to early 90's supermodels like Claudia Schiffer and Naomi Campbell.

Despite not playing your entrance music, the audience knows about your whole gimmick of showing your silhouette and singing a big band-esque song.

Your gimmick now is basically a Pussycat Doll, and not a Pussycat Doll that would become a hugely popular girl group years later, but rather the burlesque show Pussycat Doll.

This got an immediate "pop" reaction from the crowd, all of the men immediately standing up from their seats; cheering and lauding you on, some of them holding up signs and posters related to you.

You then turned around, showing your face and front part of your body.

You were dressed in a short, slinky silver dress, similar to the one Roxie Hart wears in the movie "Chicago", holding a microphone in one hand.

Jerry Lawler of course was going absolutely nuts, that pervert.

The song was perfectly and sexily arranged, sounding slightly similar to the one you sang when you performed at the Pussycat Dolls burlesque show.

While sauntering across the little catwalk many wrestlers either march or run through, you held the microphone up to your lips.

"I used to fall in love with all those boys who'd maul the young cuties" you crooned and sang.

Indeed, you did used to fall in love with boys who'd maul young cuties, be it during your wrestling career (*cough Shawn Michaels cough*) or even before your wrestling career.

Unlike Jillian Hall or most other female pro wrestlers or even some pro wrestlers in general, you were someone who can actually *gasp!* sing.

And are a talented singer.

Not quite Whitney Houston, Mariah Carey or Christina Aguilera, but a talented singer nonetheless.

"Boys who'd maul the young cuties?" Jerry Lawler asked, looking at Jim Ross sitting next to him. "She talkin' about Shawn Michaels? Or me?!"

Typical Jerry Lawler.

You could nearly roll your eyes over Jerry exclaiming this.

"But now I find I'm more inclined my heart belongs to daddy" you sang, pointing your index finger to Triple H.

"Daddy?!" Jerry Lawler cried. "She singing about her father?"

A smile broke out on Triple H's face, while this was rehearsed, even he couldn't resist this.

Neither could Ric Flair, whose gimmick was always a playboy, but Ric Flair has always looked like someone's grandpa trying to be a wrestler, and now he really looks like an old grandpa.

Not sexy.

Batista and Randy Orton were enjoying this too.

I'm sure some of the women and especially teenybopper girls watching this wish you could be singing about Randy Orton and flirting with him instead of Triple H, but you like who you like.

Some of the males in the audience and probably watching this on TV were disgusted at you calling Triple H "Daddy" since they find daddy fetishes disgusting, what with the incest factor.

You strolled to the ring, where you crawled through the ropes a la Stacy Keibler, trying to look sexy.

Once you were inside the ring with Evolution, you began singing again.

"If I invite a boy some night, to dine on my fine finnan haddie" you sang and crooned, your head turning and looking at Randy Orton.

While you were singing this, you were sexily sauntering and walking up to Triple H, all while looking at Randy.

Randy couldn't help but break out into a smile, his eyes were eying you up and down, checking you out.

So were some of the other men in the wrestling ring.

Randy started walking up to you.

"I just adore his asking for more" you sang, your eyes looking at Randy, head tilted back and hand sitting on your heart. "But my heart belongs to Daddy".

While you sang the "but my heart belongs to Daddy" part, your straightened your head up and turned it towards Triple H, looking at him and curling up next to him, wrapping one of your arms across behind his neck and atop of his shoulders, the other hand was on his chest, drawing circles on his chest.

One of your legs was slightly bent and nudging against his leg, trying to flirt with him.

"Shouldn't she be singing about Ric Flair?!" Jerry Lawler cried out.

That's meant to be a terrible sugar daddy joke, since Ric Flair is an old man, and there's the stereotype that sugar daddies are these old, rich men.

Some people wonder if this idea was Vince McMahon's idea, considering he's old enough to remember this song, so is Ric Flair, for that matter.

But this was your idea since you were previously a Pussycat Doll, the whole idea of you singing these big band-ish songs was your idea.

"Yes, my heart belongs to Daddy, so I simply couldn't be bad" you sang, drawing circles with your index finger on Triple H's chest.

You were still holding onto Triple H while you were singing.

"Yes, my heart belongs to daddy" you crooned, "da da da, da da da, da da daaaaaaaaaa..."

"So I want to warn you laddie" you sang, looking at Randy Orton and interrupting him walking up to you by holding your index finger up at him. "Though I know you're perfectly swell..."

When you sang the "though I know you're perfectly swell", your head tilted back and you put your hand on your heart, gushing like you're in love.

"But my heart belongs to daddy" you sang, your head turned towards Triple H now and looking at him "because my daddy, he treats me so well..."

You smiled while looking at Triple H, running your finger up and down his chest, flirting with him.

"Stop the music!" Randy Orton interrupted, holding the microphone up to his mouth.

The instrumental music you were singing to completely haulted, where you and Triple H both looked at Randy, so did Batista and Randy Orton for that matter.

Your facial expression went from flirty to shocked.

"Indeed, your 'daddy' treats you so well" Randy stated, crooking his fingers like quotation marks when saying "daddy". "Your sugar daddy Triple H is the only reason you're in the WWE".

Your jaw dropped, your face looking disgusted.

"Hey Randy" you quipped back, holding the microphone to your lips. "Didn't your daddy teach you not to throw stones in glass houses? Because if it wasn't for YOUR father and YOUR grandfather, you wouldn't be in the WWE either!"

The audience got a huge reaction out of this, going "Ohhhhhhhhhhhhhhhhh!".

Randy basically got served and you beat a man during this argument.

What you stated is something many pro wrestling fans say.

Not to mention, to add to you covering a song most famous for being in a Marilyn Monroe movie...

In 1999, when you were popular, but not as hugely popular as you were in 1998, you did a WWF commercial, that parodied Marilyn Monroe's musical number in "Let's Make Love", where she sang? "My Heart Belongs to Daddy".

However, in your commercial, you slid down a stripper pole and stated in the commercial "My name is Dita, and I'm not supposed to play...with boys!". You didn't sing "My Heart Belongs to Daddy".

Where it cut to footage of you either flirting or getting sexual with WWF stars (Triple H, Shawn Michaels, Billy Gunn, even The British Bulldog and Bart Gunn) in the ring or backstage (that was scripted) or footage of you actually wrestling and beating the crap out of male wrestlers.

Some of the footage was even from photoshoots you did for wrestling magazines where you're surrounded by amorous male wrestlers looking at you like they're checking you out.

Your wrestling name was Dita after Madonna's alter ego during her early 90's "Sex"/"Erotica" era.

Though, if you got famous as your wrestling name being Dita, the WWF wouldn't have Lita (which isn't her real name and she didn't even like the name "Lita" given to her), they'd probably have to give her a different name.

#triple h #triple h x fem reader #wwe #2003 #2000s #00s #ruthless aggression #ruthless aggression era #valentine's day #happy valentine's day

16 notes · View notes

parkeraul · 4 years

Note

14 for the character asks !!!

14. Describe your character’s present best friend:

alyssa — she’s still yet to come and will have a brief scene, since pull me in has only 5 chapters, but her name is thaila and she’s from colombia. so, for the end of the 3rd chapter to the beginning of the 4th they’re gonna have an INTENSE spanish conversation bc... uhm... CULTURE.

elisa — she’s still about to come, i’m not done with the fic yet but i have in mind two characters to be her best friends: cecília and igor, they’re siblings. cecília is like... the mind of them two, super super virgo vibes (responsible, honest, plans before she says something) and igor is a big trashmouth, the gemini force of them two (talkative af, kind of distracted and a big spender) — plus, igor is gonna be the one to give her some relationship tips based on his own relationship with vinícius so she can deal with shawn without losing her mind.

natasha — at first, we’ll see nat relying on henri because their friendship can’t drift away from business, but progressively i’m thinking of having harry as a good friend to her and vice-versa. tom is supposed to also be a trustworthy friend to her at first, but i’ll see how that goes.

character asks

#asked #mine #1803lesa #about the fics*

1 note · View note

slapshot-to-the-heart · 5 years

Text

Step on It

Whoops! I didn’t at all mean to start this, but then I saw a post by @mendeshoney tossing around the idea of a Shawn Mendes Baby Driver AU, and absolutely fell in love with it. It’s probably going to have three or four more parts, and hopefully the next will be up in a few days! It’s genuinely one of my favorite movies and favorite things I’ve ever written, so please feel free to tell me what you think!

Word Count: 3.1k+

Baby was a good kid. He always tried to do the right thing, looked after his foster dad like he was his own flesh and blood, and never hurt anyone unless he absolutely, genuinely had to. Baby was a good kid, but sometimes he got mixed up with the wrong people. After his parents died, and before moved in with James— back when he was still bouncing around group homes— he made some bad moves, ending up with the sort of crowd he swore he’d never get involved with. It wasn’t his fault. He didn’t mean anything bad by lifting the Audi at the corner of Queen and Boulton. All he was ever going to do was take it out for an hour or so, drive around, and return it, no harm done. Nobody was ever supposed to find out. What Baby didn’t count on was that somebody had been watching him.

His heart leapt up to his mouth as soon as he saw the man at the corner, clad in a grey suit, arms crossed and a wry smile on his face. Shit. He wasn’t supposed to get caught. He was tripping over his words as he got out of the car, a combination of apologies and excuses and pleas for forgiveness falling out of his mouth before the man held up a hand and Baby’s words trailed off.

“I saw you driving,” the man said. “Call me Flint.”

Baby briefly wondered if that was his real name. “I’m so sorry about the car, I don’t know what I was thinking—”

“How old are you, kid?”

“Fourteen,” Baby swallowed.

“Fourteen, Jesus. Where’d you learn to drive like that?”

He shrugged. “Don’t really know. Just around?”

Flint looked at him for a moment, weighing his options. “I’ve got an idea. You ever want to make some extra money, Baby?”

He nodded. “Sure, but my name’s—”

Flint cut him off. “Save it. Where we’re going kid, you won’t be needing it. Anyone asks, your name’s Baby. You hear me?”

Forcing down a nervous swallow, Baby followed Flint. What was he getting himself into?

Baby had always learned that if something seems too good to be true, it usually is. Flint’s deal was no exception. While he was undoubtedly dazzled by Baby’s skills behind the wheel, he was more interested in using them for his own, less-than-legal purposes. All to pay off the debt Baby owed him for stealing his car, he had said. Which is how Baby found himself sitting in the driver’s seat of a nondescript red sedan six years later, glancing over his sunglasses to see if the job was done. By job he meant bank robbery, naturally. It wasn’t like Baby felt good about what he was doing; he didn’t. He was doing it because he had to. He had no other choice. So he tried his best to push away his conscience, ignore the ringing in his ears, and skip songs on one of his many iPods until he found something suitable. Fast-paced, driving sound, with the right tempo and rhythm to keep him from thinking too much about the fact that he was definitely about to commit a felony. Bellbottoms- Jon Spencer Blues Explosion. Keeping one eye on the bank door, he drummed his fingers on the steering wheel, singing along under his breath. Baby liked to drive, but music is what gave him life, what kept him going week after week when the guilt of what he did threatened to eat away at his soul. Lost in thought for a moment, he nearly missed the blaring sound of the bank’s panic alarm, the small crew sprinting out the side door and across the street to his car. They piled in, Baby turned the key in the ignition, and he floored it. Down side streets, between cars, and under overpasses, until they arrived at the switch point, trading in the red sedan for a demure-looking silver hatchback. Baby vaguely wondered if Flint was channelling his inner suburban soccer mom, before sliding into the front and retrieving the keys from the center console.

The ride back to the headquarters— “the office,” as Flint liked to call it— was much less eventful, and ten minutes later the group of five was walking back into a seemingly-abandoned warehouse.The same strange smile on Flint’s face, the one Baby had learned was his sign of restrained satisfaction, he spoke. “So, how’d it go?”

Working for Flint, Baby had become an expert in waiting around and biding his time. There was never a consistent schedule for his jobs; he could go two days or two months between. When Flint called, he went. He’d take his stack of bills home, tuck them underneath a loose floorboard in the living room, and try hopelessly to reassure James that he wasn’t up to anything illegal, that he wasn’t in danger. He hated lying, but knew that it would be putting them both in way more danger if he knew the truth.

That’s how he ended up in the tiny kitchen in the apartment he shared with James, two pieces of bread on the counter, a jar of peanut butter off to the side.

Banana? He signed to James.

Obviously, he said, eyes rolling.

A corner of Baby’s mouth twitched. Grabbing a banana from the counter, he put the peanut butter back in the cupboard, placing the plate in front of him.

Thank you, James said.

No problem, I’ll be in my room if you need anything.

James nodded, and Baby walked the short distance from the living room to his bedroom, closing the door most of the way but not shutting it. James’ arthritis had been acting up lately, and he didn’t want him to have to open the door if he needed help.

Sitting down on his slightly beat-up but well-loved office chair, Baby pulled out a fresh case of blank cassette tapes that he had bought from the music store earlier in the day. It was the one thing that seemed to be able to get him out of his head, that gave him some semblance of peace and security in the midst of everything he did as part of his day job. Opening up his Mac and powering on his old cassette recorder, he plugged in his earphones. He liked to record bits of conversations he overheard, or lines of a song, or even the ambient noise that made Toronto sound like home. Car horns, trains, birds chirping, the splashing on Lake Ontario, they all made him feel safe. Made him feel at home. The top shelf of his closet was mostly filled with shoeboxes filled to the brim with these tapes, another off to the side having a dozen or so iPods and MP3 players he had loaded with his favorite music. Each one had its own theme. Most people had all of their albums on just one or two, but Baby liked the structure of his system. He was able to have control over that, even if in every other respect his life seemed out of his hands.

Someday, Baby thought he might like to try writing his own music. There would be something powerful about feeling like a piece of music was really his own, not like he was merely toying around with someone else’s words, someone else’s melody. He even had a guitar in the corner of the room, a nice one, that he’d pull out on occasion, an old journal filled with half-written songs lying on top of it. The guitar was the only thing Baby had ever spent a lot of money on, and the very pretty girl at the music store downtown promised him it was worth every penny of the $800 he had spent. He wasn’t much of a spender aside from that, nearly all of the rest of the money went towards savings. Saving for what, Baby didn’t know. He thought he might like to go to college one day, but that obviously wasn’t going to work in his current situation. Travelling was out too. So it was left accumulating under the floorboard, waiting for something, anything, to happen.

As Baby popped the cassette out of the recorder and scrawling a title over the front, a glint of metal caught the corner of his eye. His mom’s iPod. He always found it something of a miracle that it hadn’t been irreparably damaged in the car crash that had killed both her and his father, but he always ended up figuring that she was watching over him now, that she knew he couldn’t survive, wouldn’t want to survive, in a world without music. Baby could care less about his father— he had never really been there for him, never played catch or taught him how to ride a bike ro read goodnight stories, all the things a dad was supposed to do— but his mother, he missed her every day, the pain her death caused left a hole in his heart that had never been repaired. Some days were easier than others, but no days were easy. His mom, Julia, was the one who showed him love and taught him that he was valued and wanted and important, especially when he didn’t feel so himself.

He was ten when his parents died, which unfortunately for him, is right about when you really start remembering stuff, and selective memory doesn’t work as well as it used to. Which meant that he remembered every excruciating detail about the car accident that had left him an orphan. His parents fighting, his dad’s eyed not being on the road, the truck drifting into their lane, the crunch of the metal, being pulled out of the car by some good Samaritan and carted off to the hospital. Some kind-faces, spectacled doctor trying to explain to him how they tried everything they could, but his parents hadn’t made it. His aunt buying him his first suit to wear to the funeral. Thc closed caskets.

His Aunt Lydia had taken him in for a few months, trying her best, but then her husband got transferred to a job in California and he wasn’t able to go with him. She still tried to keep up with letters though, her annual birthday cards sometimes the only thing that reminded him there was a world outside of the city limits. After that, he was put into foster care, bounced around from home to home, never staying more than a few months. Some of them were genuinely terrible places, but more often than not it was Baby who would run away, taking his backpack, iPod, and a change of clothes before his social worker tracked him down and had him sent to another house. James was different. There was something about him that made Baby want to try harder, want to be a better person, want to change. Maybe it was the fact that he didn’t pity him. James had lost people too. Maybe it was the fact that he hadn’t come from much either, but still managed to live a life of joy and gratefulness every day. Maybe it was just the fact that he was a single Deaf man, so unlike any of the other families that he had been with, that all he actually needed was a change of pace. And six months later, he met Flint. Whatever the case was, Baby was grateful. He didn’t know where he’d be without James. So he wasn’t proud of what he did for Flint. Not by a long shot. But he had no choice, not if he wanted to keep himself and the one other person he was certain he cared about safe.

He owed Flint a debt, and it wasn’t like he could ignore his calls even if he wanted to. And by God, did Baby want to. Every time he picked up his phone for another one of Flint’s ‘jobs,’ it chipped away at him. The best he could do, Baby mused, was simply try to ignore the guilt until they were square, until he was all paid up, until he could finally by a car of his own and go driving down the highway and never stop.

Baby stripped off his shirt, unbuttoned his pants, threw the covers over himself, and wanted for sleep to come.

Baby woke the next morning to the blaring of his phone alarm, the speakers playing Mr. Blue Sky until he reached over, absentmindedly thumbing the screen until the music stopped. Opening up his closet, he dressed himself before walking out to the kitchen, where James was already sat in his wheelchair by the living room couch, reading the previous day’s newspaper.

Eggs and toast okay? Baby asked.

James nodded. Bacon? He asked, raising an eyebrow.

Baby shook his head. All out, used the last yesterday. I’ll get more when I’m out today.

Will you have another job today? Baby had never really told James about what he did for Flint, figuring the more ignorance on his part the better, but he was more perceptive than most, and had found out that at the least, whatever Baby was going to be given stacks of hundreds couldn’t be legal.

I don’t know, he said, shrugging. They call, I go. That had long been his motto.

Baby didn’t usually have much to do so long as he kept his phone on him, so he walked until his feet ended up taking him to Grange Park, to the same bench his mom used to sit on while he played on the same playground he looked at now. School was still in session so there weren’t too many people around, the majority being toddler age or younger. He sat for a few minutes, trying his best to disallow any memories from the crash to taint his daydreams, eventually plugging his headphones in, scrolling to his favorite 80s playlist, and walking the twenty minutes to the diner.

His mom had worked at Fran’s since long before he was born, and Baby had spent countless hours staying out of the way in a corner booth, entertaining himself with coloring books and comic strips until his mom finished her shift. Everyone that worked there had always been good to him, Julia’s frequent shift partner Monica even checking in on him a few times after her death, bringing casseroles and condolences that meant well, but didn’t end up doing much more than reminding him that her kids still had a mom while he didn’t. He visited often enough that the manager waved at him as he walked through the door, telling him his usual booth was open and he was welcome to take it. He slid in, and not a moment later the door opened again, and in walked a woman who was inarguably the most beautiful person Baby had ever seen in his life.

He barely had time to register that she was singing, so he pulled out the little, pocket-sized cassette recorder he kept in his jacket, managing to catch the last ten seconds or so. He wasn’t even able to slip it back in and she had returned, her long brown hair now pulled up in a bun and the denim jacket cast away in some cramped employee locker.

“What can I get you this morning?” She asked, with the same kind of planned cheerfulness Baby was used to from any of the servers. He hadn’t recognized her, though. He would have remembered.

Baby swallowed. “Uh, not sure?”

She waved him off, leaning her head towards the near-empty diner. It was a bit of an odd hour for lunch. “Don’t worry about it. Not like I’ve got many other customers to entertain, you see?”

His jaw fell slack, and she cocked an eyebrow quizcally at the cassette. “Am I being recorded or something? For...quality assurance?” She added playfully. “What can I get you this morning, sir?” She added with emphasis.

Rubbing a hand on the back of his neck, he shook his head. “No, no. Nothing like that.” Continually flustered, he stared at the kid’s menu when she asked about his order again.

“You know that’s the kid’s menu, right?”

He grabbed the other sheet and placed it in front of himself, perhaps with a little more force than was necessary. “Uh, yeah. Yeah.”

“So did your day just end or is it starting?”

Baby shrugged a shoulder. “Can’t really say either way. They call, I go.” As if by some cruel twist of fate, his phone chose that moment to ring. Any other person would let it go— they were eating, they were busy, and they were with a very pretty girl. But there was only one number who ever called that phone. Flint. And while he may have had something of a soft spot for Baby, he’d be damn near on thin ice for letting it ring.

“So what do you do, then? Some kind of a driver, a chauffeur?” Her name tag said Joshua, and while Baby certainly wasn’t one to criticize someone for having a strange name, something told me it was likely the fault of some poorly-organized backroom shelves and not the girl’s parents.

“Yeah, I drive people.” Vagueness always seemed to be the best response whenever anyone asked him what he did. Too little detail and his story wouldn’t be believable, but too much and they’d get suspicious. He had learned long ago to tread the sweet middle ground.

“Anyone I’d know?”

He shook his head. “I hope not.”

She already found him interesting, but now he was flat-out mysterious. “You’re a little different, aren’t you?” She murmured.

“Maybe.” Baby didn’t want to leave. God, he didn’t want to leave. He had to, but there was one more question he needed to ask. “What was that song you were singing?”

The second he got out of the meeting with Flint, Baby headed straight to the nearest record store. He made a beeline for cassettes, praying it would be tucked away behind some long-forgotten stack of Elton John’s greatest hits or the Lion King soundtrack. After a few minutes of flipping, he finally found what he had been looking for. Tucked between Prince and Fleetwood Mac— he recalled with a grimace that this particular store didn’t always do a bang-up job at alphabetizing— Carla Thomas, B-A-B-Y. He had never listen to much music from the 50s or 60s aside from classic rock; jazz and folk never really struck him as ‘his kind’ of music, but he swore he’d never loved a song more than when he heard her singing it. Turning over the case in his hand, he remembered something that threatened to throw a wrench in his well thought-out plan. He didn’t know her name.

#shawn mendes #shawn mendes blurb #shawn imagine #shawn mendes fluff #shawn mendes imagines #Shawn Mendes Imagine #shawn mendes writing #shawn mendes smut #shawn mendes fanfiction #shawn mendes fanfic

91 notes · View notes

effectsdatabase · 5 years

Text

Last week's top 20 videos (2019, week 20)

Top 20 videos last week (May 12-18)

Big Muff Shootout: Vintage V.S. Reissue (by JHS Pedals)

SHITS ABOUT TO GET LOUD - Seymour Duncan Powerstage 170 (by Ola Englund)

Does Univibe sound better before or after distortion? (by Wampler Pedals)

MXR® Carbon Copy® Mini Analog Delay (by Jim Dunlop)

Lost Highway Phaser Demo | Effects Pedals | Fender (by Fender)

Making "If You Fall Apart" with ToneWoodAmp - by Jake Allen (by ToneWoodAmp)

EBS MICROBASS 3 BASS PREAMP (by BassTheWorld)

The Most Offensive Delay Pedal! Steel Panther Poontang Boomerang! (by fluff191)

The BEST Overdrives for a Fender Amplifier? - 5 Quick Questions #2 (by intheblues)

Strymon TimeLine - Effects Loop: Phaser - Demo (by Strymon)

MODULATED DELAY WITH A TON OF CHARACTER! EVENTIDE ROSE (by Pete Thorn)

Pedals and Effects: Hedra by Meris (by PedalsAndEffects)

Can't Afford A Strymon?! | NUX Atlantic Delay & Reverb (by Guitar Bros Demos)

Death By Audio vs Keeley Electronics (by Death By Audio)

Must Have Pedal For Blues (by Vertex)

Pettyjohn Electronics IRON MK II. Classic Rock Tones! Demo Video by Shawn Tubbs (by Shawn Tubbs)

3 Modern Distortion Pedals Compared With Trent Hafdahl From AFTER THE BURIAL | GEAR GODS (by geargods)

Ross Audibles Compressor & Distortion: the Reissues vs. the Originals | Reverb Tone Report (by reverbmarket)

Mary Spender and the Orange Acoustic Pre Amp (by Orange)

Thorpy The Fat General Pedal Demo (by GuitaristMag)

Overviews of the previous weeks: http://www.effectsdatabase.com/video/weekly

Discuss this list at the forum: http://forum.effectsdatabase.com/viewtopic.php?f=3&t=857

from Effects Database http://bit.ly/2EoRV30

#FXDB #Effects Database

2 notes · View notes

dawnquafam · 6 years

Note

Ship ask because I know you love it: Shules

Who’s the cuddler: Shawn. He’s a very tactileperson, especially when it comes to holding the woman of his dreams

Who makes the bed: Jules. Shawn hardly knowswhat cleaning is

Who wakes up first: Jules. Shawn sleeps straightthrough any alarm that’s not her kiss (or her tickling him. Depends on her moodwhen she wakes up)

Who has the weird taste in music: Both. Deeeeefinitely both,cause they’re both complete dorks

Who is more protective: They’re equally protective.Lassie mocks him about it, cause he’s so not fit, until one times Jules getskidnapped and Shawn reminds Lassie just how amazing he is with a gun (hemissed, barely, but from the look on his face, Lassie knows he missed onpurpose. Lassie trusts him more in the field after that.)

Who sings in the shower: Both. Shawn more often thanJules, though

Who cries during movies: Both. Shawn pretends not to,until Jules starts kissing away his tears. Then he cries freely

Who spends the most while out shopping: Shawn. He’s a v impulsivespender, and Jules doesn’t have the heart to tell him no

Who kisses more roughly: Shawn. He’s just so excitedto be able to kiss her

Who is more dominant: Shawn, just cause he’s somuch more outspoken, and he’s very good at getting Jules to change her mind.She can def stand her ground when she wants to though

My rating of the ship from 1-10: 11

#shawn spencer #juliet o'hara #shules #ask game answers #my-glasses-are-dirty #dawn answers stuff

28 notes · View notes

leeana07-blog · 4 years

Photo

Just wanted to do a appreciation post to my love ❤️ the past 1year and a half has been a real challenge for me with my kidney disease and then with the virus going on ... it’s been real tough but I just wanted to tell you how much I love you and appreciate you staying by my side no matter what no matter how big I got from the steroids... even if I lost myself while on heavy medication you never turn your back on me or made me feel ugly and unwanted if anything it was the complete opposite I was like a monster gained over 40 lbs and had a face rounder then a basket ball despite all that you stayed 🥺 buyed me Louis vuttion bags took me to Disney world and many more places.. put up with my mood swings and hunger pains... I thank god for sending you my way .. I thank Shawn for giving me your number lol ... and thank you for never giving up on me praying with me in asking god to heal me ❤️ I love you very much I know I’m the biggest spender the shopaholic but know I love you with all my heart and everything I have ... and I thank god I have you in my life ❤️ https://www.instagram.com/p/CCEU2GmBYpzFrjXDYI8jciL6Yvh3f-gW_apWlo0/?igshid=om1qv8ojcu9p

0 notes

bangtanitalianchannel · 7 years

Photo

[INTERVISTA] BTS X BILLBOARD

“I BTS SPIEGANO I LORO CONCEPT DELL’ALBUM ‘Love Yourself: Her’ “QUESTO È L’INIZIO DEL NOSTRO SECONDO CAPITOLO”

Dal significato di “Go Go” al perchè la band ha dovuto includervi la sua vittoria ai BBMAs, Rap Monster ci spiega tutto.

Nemmeno poche ore prima del rilascio di “Love Yourself: Her”, il nuovo album dei BTS, il suo significato non era stato dimenticato del leader del gruppo, Rap Monster.

“È davvero un enorme passo per noi” ha dichiarato il ventitreenne rapper/compositore/produttore durante una telefonata da Seul. “Ovviamente tutti i membri sono molto eccitati per l’album. Ci siamo esercitati fino ad un attimo fa, notte e giorno, per mostrare le nostre nuove canzoni e delle performance perfette. Ho lasciato un messaggio nel nostro fan cafè l’altro giorno, giusto dopo aver finito, scrivendo che ‘questo EP segnerà un punto di svolta per i BTS’ e anche se l’attesa è sembrata lunghissima per questo album, –penso che in mezzo ci fosse stato anche l’evento dei BBMAs, in Maggio–, in verità sono successe tantissime cose.”

L’attesa è stata particolarmente carica di aspettativa per il risaputamente molto appassionato fanbase della band, conosciuto come gli A.R.M.Y., che hanno aspettato nuove tracce da Rap Monster, Jimin, Suga, J-Hope, Jin, V e Jungkook dopo avergli fatto conquistare il premio Top Social Artist ai 2017 Billboard Music Award, avendo la meglio su altri giganti del pop come Justin Bieber, Ariana Grande, Selena Gomez e Shawn Mendes.

Da allora, i BTS si sono aggiudicati vari accordi di distribuzione con Amazon e The Orchard con base negli Stati Uniti (“Crediamo che le copie fisiche dell’album contino ancora molto ed è importante poterci mettere in contatto coi nostri fan in tutto il mondo”, ha detto Rap Monster) e sono usciti con grandi artisti internazionali come i Major Lazer, Halsey, Charli XCX (“Magari è solo il mio sesto senso a suggerirmelo, ma penso che potremmo anche fare delle collaborazioni con artisti sempre più interessanti”, ha aggiunto), fino a incastrare i Chainsmokers a produrre un beat per “Love Yourself: Her”.

Un solo ascolto all’album ben prodotto –che sembra promettere di fare un glorioso ingresso nella Billboard 200 settimana prossima–, e la passione è palpabile dalla main track molto intensa, “DNA”, da “Go Go”, carica di messaggi sociali tra le lyrics e dai momenti che sembrano strappati dai diari personali dei ragazzi. Ci sono tonnellate di passione anche nella voce stessa di Rap Monster che parla di queste nuove canzoni mentre guarda e immagina il piano e il messaggio più grandi contenuti nelle più recenti tracce di EDM, hip-pop e pop d’avanguardia.

DOMANDA – Partiamo dall’inizio con “Serendipity”. Perchè era la giusta canzone da scegliere come intro e con la quale iniziare questa nuova era?RM: “Quando scrissi il testo, le melodie e i primi temi di “Serendipity” ho cercato di mettere insieme alcune cose rare che si trovano in vita, quelle cose davvero speciali, come i gatti calico. Cose che hanno un significato straordinario nella vita delle persone. Volevo condividere questo momento.”

DOMANDA – Leggevo che le parole del testo sono di genere neutro, il che è qualcosa di davvero potente. È stata una scelta consapevole? RM: “Il testo era basato sul tema delle cose uniche e speciali della vita. Così ho pensato che quei sentimenti trascendessero il genere, la cultura e le barriere tra le persone. Mettiamo sempre la intro prima di rilasciare il singolo, per cui essa assume il ruolo di raccontare il concept dell’album che precede. Ma in questo caso “Serendipity” era la canzone giusta per condividere i sentimenti racchiusi nel singolo “DNA”. Il titolo parla di come i nostri DNA siano connessi nell’universo, penso che quella fossa la giusta sensazione per questo album.”

DOMANDA – Parliamo di “DNA”. Questo singolo come continua e sviluppa la storia dei BTS? RM: “Parlando della nostra title track, “DNA” è dedita ad esprimere un amore giovane, appassionato. The lyrics dicono: “Noi due eravamo fatidicamente connessi fin dall’inizio, il nostro DNA è solo una cosa aggiunta.” Allo stesso tempo, “DNA” porta i BTS in un nuovo territorio. Abbiamo cercato di usare delle strutture grammaticali e delle prospettive differenti, –se alcoltate la canzone capirete cosa cerco di dire–, è molto diversa dalla musica che abbiamo prodotto in precedenza, sia dal punto di vista tecnico che musicale. Io credo che sarà il punto di partenza di un secondo capitolo della nostra carriera. L’inizio del capitolo due.”

DOMANDA – “Best of Me” è davvero notevole. Suona come se fosse degli Chainsmokers, ma allo stesso tempo come se fosse dei BTS. Non avete perso il vostro tocco, il che non è facile quando si collabora con nuovi artisti. Come è stato il processo di creazione di questa canzone? RM: “Adoro quella traccia! Siamo stati davvero fortunati, ci siamo incontrati ai BBMAs. In verità, proprio qualche giorno fa ci hanno invitati al loro concerto: hanno tenuto un enorme concerto qui in Corea ed abbiamo cantato “Closer” tutti insieme. Per “Best of Me”, loro ci mandarono mesi fa varie tracce e campioni. Noi coi produttori abbiamo scelto uno dei campioni, tipo “Ok, questo è adatto al nostro prossimo album.” Così ci abbiamo lavorato su, glielo abbiamo mandato, gli abbiamo chiesto che ne pensavano della traccia che avevamo sviluppato ed abbiamo sentito le loro opinioni. E ce l’abbiamo fatta! Sono così eccitato per quella canzone *ride*”

DOMANDA – I vostri album contengono sempre riferimenti e commenti sociali più profondi. Parliamo di alcuni dei temi toccati con questo rilascio. Viene subito in mente “Go Go”. RM: “”Go Go” è una canzone trendy, ma parla di come le giovani generazioni vivano le loro vite con aspettative e standard molto bassi, il che rende la gente molto preoccupata. Hanno poche speranze e ci sono molte difficoltà economiche. Volevamo dire qualcosa al riguardo e sottolineare al mondo che non è una loro scelta (vivere così), ma è colpa della realtà brutale che costringe la gente a vivere e spendere come se non ci fosse un futuro. Ma in Corea, “YOLO” è diventata davvero una parola chiave per i giovani perchè non ci sono soldi ed è molto difficile trovare opportunità per guadagnare. Credo che la società abbia un sacco di problemi per i giovani. I ragazzi giovani spendono i loro soldi alle claw crane machine (le cosiddette ‘gru ad artiglio’, ovvero giochi a gettoni dotati di artiglio movibile che si usa per raccogliere e vincere bambole e peluche) alle sale giochi e spendono tipo $30 cercando di vincere quei pupazzi. E poi dicono: “Oh! Ho speso tutti i miei soldi...cavolo. Ma non me ne pento.” Questo è il massimo del lusso per i giovani coreani: collezionare accessori, cosmetici, questo è ciò che loro pensano sia lusso. È una vita “YOLO” perchè è tipo: “Comprerò TUTTO questo! Comprerò tutto questo cibo e lo mangerò! Sì, lo farò!” Penso che sia triste perchè è tutto ciò che possiamo fare. “Go Go” dice semplicemente: “Ok, fallo pure, non lo rimpiangeremo. Spendi qualche soldo con quel gioco e mangia quel cibo!” Allo stesso tempo però la canzone è molto orecchiabile e facile da cantare per cui penso che piacerà a molti, specialmente se questi colgono il suo significato più profondo.”

DOMANDA – Devo davvero chiedere perchè avete deciso di fare del vostro discorso di ringraziamento ai BBMAs lo skit interlude dell’album. RM: “Devi ascoltare “Mic Drop” per capire perchè lo skit è stato proprio il nostro discorso ai BBMAs –perchè quello è stato un grande momento per la nostra storia, come band–. Subito dopo quello skit c’è “Mic Drop” perchè è come un filo, come a dire: “Ok, abbiamo finito. Non abbiamo bisogno di preoccuparci più di niente”. Quelli erano il giusto skit e la giusta canzone da metterci dopo per l’album.

DOMANDA – L’ultima canzone, “Outro: Her” mi ha davvero parlato al cuore. Sembra quasi un diario. RM: “Ah! *ride*”

DOMANDA – Dopo aver parlato con te, mi sembra che (“Outro: Her”) ricapitoli l’intero album e che sia davvero molto introspettiva. RM: “Credo che questo sia stato il lavoro più rapido che io abbia fatto per l’ album. Ho scritto i versi in venti minuti. È venuta da sè, sinceramente, dal profondo del mio cuore. Ho pensato che fosse la outro perfetta per questo album perchè tocca un grande range di emozioni: nella traccia parlo di questa persona che ho incontrato, che amo davvero, questa persona è l’amore della mia vita in questo momento, parlo di come fossi confuso in cerca di amore in questo mondo complesso. Ma penso che quella persona sia tu, dunque dico: “Ti chiamo “lei” perchè tu sei il mio strappo. Penso che tu sia il mio inizio e la mia fine.” È questo che cerco di esprimere: sei la mia domanda, ma sei anche la mia risposta. Sei la mia “lei”, ma sei anche lo “strappo”. Il collegamento è dire che l’amore non è solo felicità, solo gioia, solo meraviglia. Se vuoi amare una persona, devi sapere che ci sono anche strappi e che ci può anche essere una parte di odio in ciò. Penso che un amore davvero includa tutto questo. Questo è ciò che ho cercato di dire. È complesso.”

DOMANDA – E se le fan sono così fortunate da poter avere una copia fisica dell’album, potranno ascoltare due hidden track. Perchè non rivelarle? RM: “Penso debbano restare nascoste perchè devi essere un vero fan dei BTS per capirle. Altrimenti non le capiresti. Altrimenti penseresti: “Perchè si sentono così confusi? Sono bravi! Sono i numeri uno da qualche parte, hanno così tanta roba, perchè si preoccupano?” Le persone parlano spesso così. Ma se sei un vero fan dei BTS e compri l’album e ascolti le hidden track –se sei un A.R.M.Y. e abbiamo trascorso insieme del tempo dal 2013, 2014– puoi capirle. È qualcosa di più speciale, più intimo dei nostri cuori.””

23 notes · View notes

papermoonloveslucy · 7 years

Text

LUCY AND WAYNE NEWTON

S2;E22 ~ February 16, 1970

Directed by Danny Dayton ~ Written by Milt Josefsberg and Ray Singer

Synopsis

The Carters go to Las Vegas to see the shows, but Lucy loses all their money in a gas station slot machine. On their way home they discover a stray pony and return him to the owner, who turns out to be singer Wayne Newton. The Carters take jobs as Newton's ranch hands to make enough money to return to Vegas.

Regular Cast

Lucille Ball (Lucy Carter), Gale Gordon (Harrison Otis Carter), Desi Arnaz Jr. (Craig Carter), Lucie Arnaz (Kim Carter)

Guest Cast

Wayne Newton (Himself) previously played himself in “Lucy Sells Craig to Wayne Newton” (S1;E9) and “Lucy Discovers Wayne Newton” (TLS S4;E14). He is one of the best-known entertainers in Las Vegas, known by the nicknames the ‘Midnight Idol,’ ‘Mr. Las Vegas’ and ‘Mr. Entertainment.’ His well-known songs include 1972’s “Daddy, Don’t You Walk So Fast” (#4 on the Billboard chart), “Years” (1980), and his signature song “Danke Schoen” (1963). This is his final episode of “Here’s Lucy.”

Jerry Newton (Himself, Guitarist, right) is the older brother of Wayne Newton. He also appeared in 1968’s “Lucy Sells Craig to Wayne Newton” (S1;E9).

Jerry’s catch phrase is “Oh, gosh yes.” Although Wayne Newton calls him by his first name, it is never mentioned that the two are brothers.

Tommy Amato (Himself, Bass Player, left) was a bandleader and Wayne Newton’s bass player. He also appeared in 1968’s “Lucy Sells Craig to Wayne Newton” (S1;E9).

Amato is not identified by name in the dialogue.

Tiny Tim (T.T.) is an Angolan miniature horse from South America.

This is the second and last episode for director / actor Danny Dayton, who also was director of “Lucy Protects Her Job” (S2;E14).

The final draft of this script by Josefsberg and Singer was dated October 1, 1969.

Following the original broadcast of this episode, “The Doris Day Show” featured ‘Lucy’ supporting players Bobby Jellison, Mabel Albertson, and Hal Smith.

This episode is filmed on location in the San Fernando Valley. Second unit footage of the Las Vegas Strip featured doubles for the cast. The in-car driving scenes were done using a studio process shot.

In his introduction to the episode on DVD Wayne Newton recalls that this episode nearly caused a rift between him and Lucy due to the demands of the production.

Musical Director Marl Young takes over the introduction and enthusiastically recalls writing the jazz background music for the montage of the drive down the Las Vegas strip. Young mistakenly calls “Gary Morton” and “Gale Gordon” “Gary Martin” and “Gale Garden.”

Sunset Strip Montage

Caesars Palace – opened in August 1966 and is still operating today. The marquee headliner is Frank Sinatra with Little Richard with the Nitty Gritty Dirt Band.

La Concha - was a motel that opened in 1961 and closed in 2004. The sign is restored and preserved in Las Vegas's Neon Museum. It was named after the resort community of La Concha, Spain. It was neighbors with the Riviera, which is in the background.

Stardust – was located at 3000 Las Vegas Boulevard South. It was first opened in 1958 and demolished in 2007. The famed Stardust sign became one of the symbols of Las Vegas. The entertainment roster featured with the spectacular French production show Lido de Paris.

International - opened in 1969 and was known for many years as the Las Vegas Hilton, then briefly as the LVH - Las Vegas Hotel and Casino. It was renamed the Westgate Las Vegas in 2014. Upon opening, the International was the largest hotel in the world. The headliner at the time of the filming of the footage was Bill Cosby with Lionel Hampton. Interestingly, the International boasts the opening of a Children's Youth Hotel!

Sands - was a historic hotel and casino on the Las Vegas Strip that operated from 1952 to 1996. The Sands was the seventh resort to open on the Strip. During its heyday, the Sands was the center of entertainment and hosted many famous entertainers of the day, most notably the Rat Pack. The Sands was featured in “Lucy Hunts Uranium” in 1958 (inset).

Flamingo – opened the day after Christmas 1948 and is still operating today. It is located at 3555 South Las Vegas Boulevard. The hotel was the third resort to open on the Strip and remains the oldest resort on the Strip still in operation today. The headliner at the time was comedian Pat Paulsen.

Frontier - was the second resort that opened on the Las Vegas Strip and operated continuously from October 1942 until it closed on July 16, 2007 and was demolished. It has the distinction of hosting Elvis Presley's first Vegas appearance in 1956, and the final performance of Diana Ross and The Supremes on January 14, 1970. At the time of filming singer Abbe Lane and comic Dick Shawn were headlining. Shawn guest starred in “Lucy and the Pool Hustler” (TLS S6;E13) in 1968. At one time, Abbe Lane was married to Xavier Cugat, Desi Arnaz's mentor and Ricky Ricardo's competition.

Thunderbird – was located at 2735 Las Vegas Boulevard South and operated from 1948 to 1992. It was the fourth resort to open on the strip and had a Native American theme that featured a Navajo-based restaurant, the only bowling alley ever on the Strip, and a showroom. The marquee here promotes a stage production of Rodgers and Hammerstein's 1958 Broadway musical Flower Drum Song starring Jack Soo, who had also been in the 1961 film adaptation. Interestingly, the Thunderbird wooed gamblers with the promise of 'Free Nylons with Jackpots'! From 1976 the property was known as the Silverbird and then, finally, El Rancho.

Bonanza – opened in July 1967 on land formerly occupied by Three Coins Hotel and Casino. It was later renamed the New Bonanza Hotel and Casino. In 1973 it became part of Bally's Las Vegas. It is not connected to the Bonanza Gift Shop, a landmark store on the Strip and one of the largest such establishments in the word.

Riviera - operated from April 1955 to May 2015. It was the first high-rise and the ninth resort on the Las Vegas Strip. Liberace cut the opening ribbon, and became the first resident performer. The building was demolished in 2016.

The only sign that is missing from the montage is the iconic “Welcome To Fabulous Las Vegas Nevada” sign that is now visually associated with the gambling town.

Craig notices that Dean Martin is playing at the Riviera. Desi Arnaz Jr. was in a band with Martin's son. Kim says “He's one of my favorites!” Martin guest starred as himself (and his doppelganger) on “The Lucy Show.” His opening act at the Riviera is comedienne Totie Fields, who will act on a 1972 episode of “Here's Lucy.” In 1975, she was one of the comics to roast Lucille Ball on “The Dean Martin Celebrity Roast.”

Harry's 1970 yellow Plymouth Satellite convertible was previously seen in “Lucy and Viv Visit Tijuana” (S2;E19).

Also during the driving scene, the background shows a marquee for P'zazz '70, a lavish stage show at the Desert Inn Hotel and Casino, in operation from 1950 to 2000. The show started out as P'zazz '68 and was updated.

Their drive down the Strip also takes them past The Castaways casino, where Cotton Club Revue 70 is playing. The above snapshot was taken in September 1969, around the same time as filming. Castaways operated from 1963 to 1987, when it was imploded to make way for the Mirage. In 1967, the Castaways was sold to billionaire Howard Hughes for $3 million as part of his spree of buying Las Vegas properties. Coincidentally, the reclusive millionaire is also mentioned in this episode.

CRAIG (to Harry): “If you didn’t come to Las Vegas to see shows, what did you come for?” LUCY: “He came to kiss Howard Hughes’ ring.”

The foursome encounter a miniature horse on the side of the road but don't know exactly what sort of horse it is. Lucy says she can't imagine John Wayne sitting on it; Mickey Rooney, yes. John Wayne appeared on both “I Love Lucy” and “The Lucy Show” while Mickey Rooney starred with Ball in Thousands Cheer (1943) and as an acting teacher on a 1966 episode of “The Lucy Show.”

Wayne Newton purchased the first five acres of what is now Casa de Shenandoah in 1966. It was raw land, with no well or electricity. The first house was built between 1966 and 1968, along with four stalls for a horse barn. He lived in that home with his parents and older brother. He then acquired additional acres between 1969 and 1972. Construction of the Mansion began in 1973 and was completed in 1976. Today, Casa de Shenandoah is one of the top tourist attractions in Las Vegas.

Although the episodes were by different writers, Newton and the Carter family remember meeting each other in 1968 (above). Newton remembers Harry because when they first met he asked for two choruses “Hey Big Spender” (which didn’t actually happen in the episode). The song is by Cy Coleman and Dorothy Fields and was written for the Broadway musical Sweet Charity in 1966 and was included in the 1969 film starring Shirley MacLaine.

Lucy's qualifications for working on a ranch are that she saw every Gene Autry picture three times. Gene Autry (1907-98) was a Texas born motion picture star dubbed “The Singing Cowboy.”

Wayne Newton shares that is half Cherokee. Craig says that means he is “one of the original Americans.” Awareness of the plight of Native Americans was heightened during the late 1960s. “Lucy and the Indian Chief” (S2;E3) was shot on location on Navajo land using Native American tribe members for extras.

At the barbecue, Newton sings “Tumbling Tumbleweeds” accompanied by Jerry on guitar and Tommy on bass. Kim and Craig sing back-up while Lucy and Harry look on. “Tumbling Tumbleweeds” is a song by Bob Nolan and sung by Gene Autry in a 1935 film of the same name. In 1970 it was covered by Don Everly.

When Newton says that Kim and Craig have “good seats” (ie; ride horses well), Lucy misunderstands and nonchalantly admits to having “paddled” Kim and Craig! Yikes!

Lucille Ball was an experience rider, having ridden horses in her films and television shows, but here (at age 59) leaves the riding to her children. She does, however, help Harry rope a calf for branding, but only manages to brand Harry instead!

Lucille Ball wears tinted glasses for the exterior shoots, just as she did the previous year on location at the Air Force Academy at the start of season 2. These lenses allow viewers to still see Lucy’s expressive eyes, but also provide protection from the sun’s rays.

Lucie and Desi Jr. were sent to horse trainer Glenn Randall to learn how to ride the dancing horses used for the episode's finale. Randall famously trained Trigger, Roy Rogers' horse.

Lucie Arnaz later recalled, “We would drive two-hours in rush-hour traffic all the way up to this mountain where we get on with this horse dressage and learn from scratch how to ride so that we could do that show with Wayne Newton. I mean stuff like that just blows my mind."

For the finale, Wayne sings "I've Got the World on A String" by Harold Arlen and Ted Koehler written in 1932. The song was made popular by Frank Sinatra. Wayne performs this song while on his dancing horse. Kim and Craig are also on dancing horses that perform while he sings.

What Happens in Vegas....

A quick subliminal callback happens in the very first moments of the episode, when Harry’s car drives past the Las Vegas Tropicana. Their sign is only briefly seen from behind [I’ve reversed the image on the left] while the focus is on the Caesar’s Palace marquee. Desi Arnaz borrowed the name from the original Tropicana nightclub in Havana for Ricky Ricardo’s club on “I Love Lucy.” Ironically, the Las Vegas casino hotel opened in 1957, just after Ricky changed the name to Club Babalu. It is still in business today.

Lucy Ricardo was in Las Vegas for “Lucy Hunts Uranium” (1958, above) hunting for her fortune in the Nevada desert rather than the casinos. The Sands, whose sign is seen in the opening montage of “Lucy and Wayne Newton”, is where Ricky Ricardo performed and the gang stayed during the episode. Location footage featuring the cast was shot in the California desert while a second unit team and cast doubles were filmed in Las Vegas. Lucille Ball and Desi Arnaz were invited to the Sands' fourth anniversary party in 1956.

Lucy and Ricky Ricardo were also in Vegas for “The Lucy-Desi Milton Berle Special” in November 1959 on NBC.

Lucy Carmichael and Viv won a trip to Sin City in “Lucy Goes to Vegas” (TLS S3;E17) where being broke doesn't stop them from being high rollers.

In 1975, Lucy Collins traveled to the Nevada gambling town to meet her celebrity crush, Dean Martin, in “Lucy Gets Lucky”, which also begins with a montage of the Strip, ending on the exterior of the MGM Grand, where the action is set.

“Lucy Discovers Wayne Newton” (TLS S4;E14) also was set on Newton's farm and also featured a horse, although not shot on location.

The rear-projection shot of the cast driving down the Las Vegas Strip is visually similar to the now iconic image of the Ricardos and the Mertzes driving across the George Washington Bridge in “California, Here We Come!” (ILL S4;E14), which was the first process shot used on television.

Deja View! As with most rear projection process shots, the Harry’s car passes the same Las Vegas Strip landmarks several times as the scene goes on.

BYOB (Bring Your Own Bass)! Kim surprises everyone by asking Wayne Newton to sing. It is convincing enough that Newton’s brought along his guitar, to a picnic by the river, but it seems a stretch that Tommy has packed his upright bass!

Children & Animals! Working on location with live animals causes a few overlaps in dialogue and a few skillful ad libs by the cast.

Ouch! Talking of the unpredictability of animals, when Harry chases the calf around the pen, Gale Gordon smashes into the barn wall with his right shoulder. Like the trouper he is, Gordon continues the scene!

Stunt Roper? When the script has Harry lasso Lucy instead of the calf, the camera goes in for a medium shot of Lucy, with Harry off screen for when the lasso lands around her. It may be that after several attempts, Gale Gordon allowed a more skilled roper to throw the rope around Lucy and then walks into the shot. There is a definite scene change for when Lucy and Harry have (supposedly) subdued the calf in order to brand him. Gale Gordon (63) and Lucille Ball (58) are obviously winded from the scene, but are definitely doing most of their own stunts with the live (and lively) calf.

“Lucy and Wayne Newton” rates 3 Paper Hearts out of 5

1 note · View note

plusorminuscongress · 5 years

Text

New story in Politics from Time: Former Mississippi Sen. Thad Cochran Dies at 81

(JACKSON, Miss.) –– Former U.S. Sen. Thad Cochran, who served seven terms and used seniority to steer billions of dollars to his home state of Mississippi, has died. He was 81.

Cochran’s final chief of staff, Brad White, said Cochran died Thursday at a veterans’ nursing home in Oxford.

Cochran was elected to the U.S. House in 1972. When he won a Senate seat in 1978, he became the first Republican since Reconstruction to win statewide office in Mississippi.

He led the Appropriations Committee in 2005-06, channeling money to Mississippi and other Gulf Coast states for Hurricane Katrina recovery after the 2005 storm, and regained the committee chairmanship in January 2015, when the GOP again took control of the Senate.

He won reelection in 2014, but announced last year he was retiring because of his health.

Cochran was a driving force behind more than $100 billion in funding to help Gulf Coast states recover from Hurricane Katrina. He was also a big practitioner of earmarks — home-state goodies such as highway projects, economic development grants and university research dollars.

GOP leaders banned earmarking, but Cochran was backing Navy shipbuilding efforts in 2015. Ingalls Shipbuilding in Pascagoula, which makes a variety of Navy ships such as modern destroyers, has long been one of Mississippi’s largest private employers.

Mild-mannered and known for working across party lines, Cochran won most of his re-election campaigns easily. However, he struggled in 2014 amid a Republican primary challenge from state Sen. Chris McDaniel, who was backed by tea party groups and had significant financial support from libertarian-leaning national groups that criticized Cochran as a big spender.

The campaign turned ugly as supporters of his opponent photographed Cochran’s bedridden wife, without permission, in the nursing home where she had lived a dozen years with dementia. Images of Rose Cochran were posted briefly online in a video that attempted to show Cochran was having an inappropriate relationship with one of his longtime staff members, Kay Webber — an accusation that Cochran denied.

Weeks after four men were arrested and charged in the photo case, Cochran placed second, behind McDaniel, in a three-person Republican primary. During the three-week runoff campaign, Cochran actively sought support from a wide variety of voters, including African-Americans who traditionally vote for Democrats.

Cochran defeated McDaniel in the runoff, but McDaniel never conceded. Instead, McDaniel filed a lawsuit trying to overturn the results. He claimed the election was tainted because people who never intended to support the Republican nominee in the general election had voted in the party primary. Mississippi voters do not register by party. A judge dismissed the lawsuit, saying McDaniel had waited too long to file it, and the state Supreme Court upheld that decision.

In the November 2014 general election, Cochran defeated Democratic former U.S. Rep. Travis Childers and the Reform Party’s Shawn O’Hara.

Rose Cochran died in December 2014, weeks after the election and before her husband was sworn in for his seventh six-year term in the Senate.

On May 23, 2015, Thad Cochran married Webber in a small ceremony in Gulfport, Mississippi. She had joined Cochran’s Senate staff in 1981 and had often traveled with him as his executive assistant.

During his second stint as Appropriations Committee chairman starting in 2015, Cochran continued working to send money to Mississippi. He and the state’s other Republican senator, Roger Wicker, successfully pushed to get a national historic landmark designation for the home of Medgar Evers, the Mississippi NAACP leader who was assassinated in 1963 outside the house in Jackson. The ranch style home operates as a museum. When it gained landmark designation in January 2017, it became eligible for grants and tax credits.

Thad Cochran was born in the small town of Pontotoc, in the hill country of north Mississippi, and grew up in a suburb of Jackson. He earned a bachelor’s degree and law degree from the University of Mississippi. He was an Ole Miss cheerleader as an undergraduate.

Cochran spent three years in the Navy and studied international law for a year at Trinity College in Dublin, Ireland, before moving to Jackson, where he was in a private law practice for seven years before being elected to the House.

By EMILY WAGSTER PETTUS/AP on May 30, 2019 at 11:37AM

#Time #politics #PlusOrMinusCongress #±Congress #Indega±#IndegaPlusOrMinus #TimeMag #TimeMagazine

0 notes