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heartcal · 3 years

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“who do you believe?”; l.h.

Disclaimer: i didn’t want to write sierra as a bad person because i personally cannot see that, and i know there’s some discourse about her within in the fandom but i don’t want any of that here! so i named the girlfriend after a girl who bullied me in elementary school lol (but another disclaimer: i do not want to see any hate towards the boys’ s/o! pls don’t send any asks that talks bad about them, i will not answer them!)

thank you for requesting! :^)

a/n: while transfering this from microsoft word, the formatting kept screwing up for some reason so if there are some janky paragraphs, i apologize! not too comfortable with this one compared to my previous fic (this feels rushed) but it is long and i did not mean for that to happen lol. enjoy!

if there are any mistakes, please tell me!

pairing(s): not really a mention of luke hemmings x reader but it’s mostly luke hemmings x named gf (rachel/oc) (gender neutral but if i slipped up, please let me know!)

summary: having known luke for years, it was bound to happen eventually. the crush you developed happened before you could stop it, and you did your best to keep it a secret. you told no one, did your best not to show it, so what do you do when his girlfriend finds out?

genre: angst, and mostly angst >:^)

warnings: swearing, luke’s gf being mean, bullying?

wc: 4,057 (she’s a long one)

my masterlist!

You don’t know when it happened, or frankly how it happened, but one thing is for sure: you don’t want to feel this way.

Was it when he bought you a stuffed animal version of a pet you had as a kid, one that you remember so fondly and still tear up about it to this day? Or was it when he would always bring back a certain candy you can only find in its country of origin, and bring as much as customs would allow? Maybe it was when he printed out every photo he could find from the beginning of your friendship to the present day (at that time) and made a scrapbook for your birthday since you cherish memories?

Whatever memory it was, you want to track it down and destroy it. It wasn’t fair that you developed such strong feelings for your best friend, knowing he doesn’t feel the same since he’s taken.

It’s not that he isn’t attractive – far from that because if anything, you wish you could draw just so you can draw him because there’s no way someone can look that good – but it’s more of the fact that he’s your best friend, someone you hold dear to you.

You two grew up together; saw each other’s worst phases, styles, and embarrassing moments (it was well documented towards the middle of the scrapbook). He was with you when you went through bad break-ups, and you with him. Throughout school, you two were inseparable, and when the band got big he made sure to keep you close and to never lose contact. It was hard in the beginning but you two managed.

Now finished with college, you’ve taken on the role of working with the team when they’re on tour and helping plan aesthetics for the next album. He offered the jobs after you struggled to find a job after graduation, and in the end, you enjoyed being with the guys and doing the tasks needed.

Tonight, the band was set to play their new album to an intimate crowd. It was to welcome back old fans and welcome new fans, introducing both sides to a new sound they worked hard on. You couldn’t be any more proud.

You sat on the couch as the guys walked around the room, pepping themselves up and hyping each other. You had finished doing your tasks with the crew and spent your free time watching the band prepare as the audience began to fill in the theater seats.

A nudge on your arm makes you direct your eyes from Michael styling his hair with a nervous expression to the person on your left.

“What’s up?” you asked, smiling at the curly-haired individual.

Luke shrugs, glancing around the room before his eyes land back on you. He has a small smile on his face as he leans back onto the couch, “Nothing.”

You scoff, shaking your head with a smile, “Yeah, sure, ‘nothing,’” you mimic, tilting your head to the side, “I doubt that.”

“What do you want me to say?”

You give him an incredulous look, crossing your arms as you turn to face him. You can tell he’s nervous, like the rest of the team and the band, but he won’t admit it. He’s always wanted others to view him as strong and unbothered, especially when those around him feel off.

He mirrors your position, a smirk on his lips because he knows you’re about to lecture him.

And he’s right.

“Your band has a new album out in a couple of days—an album you guys have worked hard on even when your management gave you shit, mind you—and you’re about to perform a majority of the songs in front of 500. Are you not nervous?”

He shakes his head, smugly smiling as he returns to his position leaning against the couch, watching Ashton dry the wet ends of his hair.

“Liar,” you mumble, uncrossing your arms and taking your phone out to check the time.

“Alright,” Luke sighs, giving in, “maybe I’m a little nervous, but I’m not a wreck.”

He’s still a liar. The success of their last album was astounding, so creating an album to reach that level and hopefully top it was hard enough. Playing it in front of an intimate crowd who may or may not like it was tough.

Luke isn’t cocky. He’s a humble man, but he likes to joke around in stressful situations. He’s used to concerts, so he doesn’t have any anxiety when it comes to performing. But when he is nervous for any reason, he won’t show it. He’ll act cool, completely collected with his head held high in confidence. If he needs to relieve the stress, he’ll either do it himself with a strong pep talk, or he’ll go to you.

“What are you nervous about?” You ask, wanting to make him feel better.

“Will they like it? Will it even chart? Is it too bold?” he continues listing out his insecurities about the album and the performance, finally lifting everything off his chest.

And you listen. The way his eyes stare into yours with slight confidence, covered by worry makes your heart sore. Luke’s kept everything inside and now that he’s listing his grievances, it makes you wonder just what else you can get out of him that he’s kept buried inside.

However, before you can give him your insight on this particular problem, “Luke!”

His head immediately turns to the door, the worry in his eyes fading out into sheer happiness and adoration. Something you’ve always wanted to see directed towards you.

Luke stands arms wide as he captures his girlfriend in his arms for a hug. Her arms wrap around his waist as his arms go around her shoulders, dipping his head down to kiss her on the head.

“I can’t believe you made it!” you hear him speak with excitement, expressing more words of happiness as he guides her to another part of the room.

You don’t miss the way her eyes glare in your direction, and you’re not afraid to give her a look back.

Rachel was nice when you met her. You actually liked her, despite your crush on Luke, and you were rooting for the two. But, a couple months ago during a stressful week, she turned on you. Her attitude towards you shifted, almost as if you had disrespected her and her bloodline. She would always act as if you weren’t in the room, and when plans were made with the boys, she would “accidentally” leave you out. It was embarrassing for you when you’d find out your friends went out, calling you to find out why you didn’t come. Due to the embarrassment, you would go along with it, making up some excuse as to why you were absent.

None of the boys, to your knowledge at least, have caught on to her antics, and you honestly hope they don’t. Whatever it is you did to her, you want to find out for yourself so you can fix it.

With a sigh, you stand from the couch, stretching your arms briefly before wandering to Calum, who stood in the shower room connected to the dressing room.

“Hey,” you greeted him with a warm smile.

He smiles back, finishing his drink before tossing the plastic cup in the trash. He grabs his bass, which was placed on the counter, and holds it out to you.

“You want me to see if it sounds out of tune?” you jokingly ask.

He nods, “Yeah, I feel like one of the chords might be flat.”

You chuckle as you pluck a random chord. His instruments are always tuned before it’s time to play. One of his pre-show nervous ticks was the constant doubt of his instruments being playable.

“It’s fine, Calum.”

The doubt shows on his face as he brings his guitar back to himself, putting it on and checking the chords himself, but it doesn’t last long as Ashton’s voice calls everyone to the center of the room.

Walking with Calum to where the rest of the crew was, you notice how attached Luke was to Rachel. Joint at the hip, arms wrapped around each other; it was annoying.

“Show starts in ten,” Ashton gains your attention, holding up a cup as Michael hands Calum a similar cup before doing the same to Luke. The three follow the drummer’s action as he continues, “let’s make this show fuckin’ awesome.”

The crew cheers, dying down quickly as Michael gives his thoughts, “We worked our asses off for this album, I don’t have any doubts about it. We got this, guys!”

The cheers resume as those with a drink take a celebratory sip before placing their empty cup on a surface near them.

Calum leaves your side to join Michael while Ashton heads to you.

“You excited?” he asks, putting his right arm around your shoulders with a large smile.

“Yeah!” you return the smile, “What about you? Nervous like the others?”

He shakes his head, crinkling his nose, “I’m not too nervous. I’m just happy to play again.”

You’re about to ask him what song he was the most excited to play, starting to get into the conversation but yet again you are interrupted by Rachel.

“Hey, Ash,” she greets him, Luke following close behind her as his arms make their way back around her shoulders again.

“Hi, Rachel,” Ashton nods his head at her – his eyes dance to Luke briefly before returning to Rachel’s, “didn’t think you’d make it.”

“Couldn’t miss your big show,” she smiles, looking up at her boyfriend as she pats his stomach.

Luke laughs, gently pushing her hand away from him, “I’m surprised, too—“ he grabs the guitar a crew member hands him, left arm lifting itself from Rachel’s shoulder as he slips the strap over his head, “—because her schedule did not look clear enough, but here she is.”

“Three minutes,” a different crew member rushes out, patting Luke and Ashton’s shoulders before rushing to tell the others.

“See you after,” Luke shifts his guitar away from Rachel before leaning down to kiss her on the lips – something you wish you didn’t see – and turning around to head out of the dressing room.

Ashton gives you a quick hug, “Excited for the lights,” he mumbles in your ear before turning to Rachel to give her a side hug.

It doesn’t go unnoticed how Rachel’s eyes glared at you by Ashton, but he doesn’t mention it as he heads out with the other guys towards the stage.

As a majority of the crew follow them out, you stay behind to clean up the empty cups and other trash, trying to occupy yourself as Rachel too stayed behind.

Her eyes followed you as you moved about the room, carrying the small plastic bag with you as it fills up with cups and wrappers. You could feel the glare burning into your side and back as you paid her no mind.

When it was just you two left, the bass from their opening song was heard and felt as you finished picking up the garbage.

“For how long have you liked Luke?”

You froze. Your head whipped towards Rachel, wide-eyed as you glanced around the room to make sure it was just the two of you.

“What…what are you talking about?” You can feel an extreme warmth rising up from the bottom of your back, all the way to your face, nervousness clouding your brain as she stares you down.

“Luke—,” she crosses her arms and moves to the couch, “how long have you liked Luke?”

“I don’t—I,” you stutter, your stomach dropping as you realize you’ve been caught.

His girlfriend knows you like him.

“Cut the bullshit,” she spits, “I can see it. You’ve been friends with him for years, you obviously caught feelings for him.”

You shake your head, standing up straight to give off the illusion of confidence. Turning your back to her and towards the door, “I don’t have to talk to you.”

You opted for walking out of the dressing room and go watch the band from the side of the stage, but you made a quick stop in the bathroom to splash cold water on your face.

You did what you could to avoid her during their performance. You knew she was watching you, seething at how you ended the conversation so fast.

Rachel wanted to break you down, find the reason why you like him and separate you two for as long as it takes to make him fall in love with her. She finds you a problem in their relationship because of how close you and Luke are, because of how long you’ve known each other. A threat to her and her relationship.

An hour and a half later, the show is finished and the whoops and cheers from the crowd indicate the album was very well received. That thought swept the interaction with Rachel from earlier under the rug as the boys’ adrenaline spread throughout the crew.

Ashton was first to greet you, sweaty and ready to envelop you in a hug but you’re quick to avoid it, ducking down just as his arms closed around the space where your head was. He laughs it off, heading for his next victim.

Next was Calum, who grabbed a drink from Andy and gulped it down. He had a smile on his face after, only growing wider when he saw you. “I think they liked it!”

“Bass in tune, huh?” you return, patting his back as he passes you to go to the next person.

Michael is the third, taking off his hat (which made you question why he was so worried about his hairstyle that he spent at least fifteen minutes playing with before the show). He stops in front of you, phone in hand as he takes a picture of the two of you: a tradition he started a few tours ago as a joke.

Finally, Luke makes his way towards you, ready to ramble about the show but is brisked away by Rachel. He doesn’t even glance over at you after he’s taken away towards the hall.

Entering the dressing room where the rest of the boys sat, you saw Michael talking animatedly on the phone, Calum laying across the couch with an arm over his eyes, and Ashton wiping off excess sweat with a towel. He was the first one to notice you.

“Ready for that hug?” he asks as you approach him.

“Why not.”

You hug each other, smiling as you pulled away. In the distance, over the cool-down music, you hear Luke’s laughter in the hall. Knowing he’s with Rachel makes you wonder if she’s told him about her suspicions, and that thought alone makes you clam up all over again.

Ashton immediately notices, tilting his head as he asks you what’s wrong.

“Nothing,” you quickly reply, eyes focusing on him.

He notices how jittery you seem, but he doesn’t want to make you uncomfortable so he says nothing.

“Guys,” Andy comes in with his camera in hand, “we need to take a few photos.”

The three agree and follow the photographer out. You move to the snack table for a bottle of water, but before you can take a sip, someone clears their throat in the doorway.

You roll your eyes immediately because you know who it is. You don’t pay her any attention and instead take the sip of water you need.

“We need to finish that conversation you oh-so rudely ended,” Rachel moves into the room, keeping her voice down as she crosses her arms.

“We don’t need to finish anything.”

She scoffs, “I asked you a question, and you were so quick to avoid it. I think you’re proving a point.”

“What point?” you turn to look at her, “I know you don’t like me but I don’t know why, can we start with that?”

“Like I said before, I know you like Luke. He’s my boyfriend, and I don’t like how he’s close to you.”

“We grew up together,” you state, standing tall as you glare at her, “of course we’re going to be close.”

“Well I don’t like it,” she huffs.

You shake your head with a sigh, closing the lid to the bottle as you turn your back to her. You were getting angry at the fact that someone who didn’t know Luke as long as you did was hinting that you should stay away from him.

“Stop hanging out with him.”

A curt laugh escapes you before you can stop it, “Are you jealous of our friendship?”

“No,” she smirks, “but I know you’re jealous of our relationship.”

She’s right; you’re only a little jealous of their relationship, but it’s not something you want to risk your friendship with.

You open your mouth to defend yourself, but you’re caught off-guard when nothing comes out. The one opportunity to make her believe you don’t like her boyfriend and you can’t say anything.

Giving up with sinking shoulders, you glance at the door before looking back at her. Grimacing at her knowing smile, “How did you find out?”

She hums, “It was easy. I love him, so I know what it looks like to look at someone you love. You made it so obvious, I’m surprised no one else found out!”

You grit your teeth. You did your damn best to make sure no one, especially Luke or Rachel, know how you feel about him.

“I’m not intimidated by you,” she walks closer to you, arms uncrossing as her hands move to her hips, “but I won’t deny the fact that you and Luke have chemistry.”

“What will it take—” you place the bottle back on the table, “—for you to leave me alone?”

“Do the same to him.”

“What?”

“Leave him alone, unfriend him,” she shrugs, “simple as that.”

“That’s ridiculous,” you walk around her to the door, ready to end the conversation.

“Do that or I’ll tell him,” with a harsh tone she walks towards you, grabbing your arm to stop you from walking.

“You wouldn’t.”

“Okay,” another voice from the doorway makes the two of you jump, “that’s enough.”

Ashton walks into the room, grabbing Rachel’s hand and removing it from your arm.

“W—” she stutters out as she watches the tall man move to stand in front of you.

“I came back for my drumsticks—” his eyes shift to the object sticking out of his bag before dropping down to Rachel, “—but instead I find you, what, threatening a good friend of ours?”

Rachel is speechless while you’re frozen. It was embarrassing enough for one person to find out about your crush on Luke, but now Ashton might know and you want to go into hiding.

“Let it go,” you tug on Ashton’s shirt to get his attention but he doesn’t move.

“Telling someone who’s known your boyfriend longer than your relationship to just abandon him is low, Rachel. Don’t think the way you’ve been treating our friends has gone unnoticed.”

You hear more footsteps approaching the room, and now you wish the ground can swallow you up. You don’t want all this attention on you.

“What’s happening here?” Michael says as he peeks into the room, Luke behind him as Calum leans against the other side of the doorway.

“Nothing—,” Rachel tries to deflect but with four pairs of eyes on her, it becomes too much. Tears start pouring out, and you’re in disbelief.

How can she be the one crying after she was the one who was rude to you?

Luke immediately rushes in, creating a beeline right to her side to wrap her in his arms.

His eyes dart to yours, an emotion on his face of something you’ve never seen, but you know it’s not good.

“What did you do?”

You’re taken back by his tone and the way his angry eyes stare you down. It hurts because instead of staying neutral and finding out what exactly happened, he immediately chose a side: a side of someone he’s known for only for a short amount of time.

“Mate,” Ashton speaks up for you, “I think you’re asking the wrong person that.”

“No,” Luke’s voice raises, eyes moving from yours to stare into his band mate’s, “I’m asking the right person.”

You swallow the lump in your throat, your eyes welling with tears as the weight of everything happening within the last ten minutes starts to bring you down. Your eyes move away from the ones boring into yours, and with a tremble in your voice, “I didn’t do anything. She’s the one who started—.”

“Bullshit!” Luke’s roar cuts you off, “Absolute bullshit, because if she started it, then why is she the only one crying?!”

The two other guys move in to the room to mediate the situation.

“Luke, calm down,” Michael’s hands raise to the motion of ‘calm down’ as he tries to get Luke’s attention.

“There’s gotta be more to the story,” Calum moves to your side, checking on you briefly.

“Don’t,” Luke states as he watches Calum grab your shoulders to move you out of the room.

“Don’t you think you’re overreacting?” Ashton questions. He watches Luke soothingly rub Rachel’s back, wiping her tears with his free hand.

“My girlfriend is crying and you two were the only ones in here,” Luke replies, gently grabbing Rachel’s arms so he can look directly into her eyes, “what happened, babe?”

“I asked them—,” Rachel sniffles, continuing her façade, “—if they needed any help cleaning the room earlier and they yelled at—at me and told me to go away. Then after the show when you guys went for your photos, I came here to apologize to her, even though I didn’t do anything wrong.”

She was selling it; the tears, the sniffling, the stutters, and hiccups. A great actress who knows what she wants.

“That’s not true,” you inhale, your ears feeling warm and ringing, “she has had a problem with me lately and I don’t know why!”

Luke scoffs, shaking his head, wrapping Rachel in his arms again.

“C’mon,” Michael mumbles, wanting to leave the room.

Ashton turns around, watching your face go from pleading to blank as the tears fall from your eyes. He turns his head to face Luke, “You’re unbelievable,” he grabs your shoulders and starts to move you out of the room, “let’s go.”

Michael is already out of the room, the tension too much for him and ruining the after-show vibe. Calum is waiting by the door ready to help lead you out. Ashton has you turned around, pushing you towards the door.

“Wait, Luke,” you mumble, getting out of Ashton’s hold and turning back to face Luke.

He doesn’t look at you, sighing as he rubs Rachel’s head as it’s against his chest.

“Please,” you plead, begging him to look at you and when he does, you ask, “who do you believe?”

“What?”

“Who do you believe, Luke,” you gulp with a sniffle, “me or her?”

For a moment, you think you see hesitation. His jaw tenses as he stares you down, his best friend for years and someone he turned to when times got tough. He then looks down at the girl in his arms, someone he loves crying into his chest.

He sighs again, this time soft, before looking up to meet your eyes. He does notice the tears, the pain etched on your face as his other best friends watch them. “I believe Rachel.”

“This is fucking stupid,” Ashton mutters as he gently grabs your shoulders again to lead you out of the room.

You let the tears fall freely, not meeting any of the boys’ eyes as you kept your head face down.

You’ve lost your best friend. He chose someone else over you, a lie he chose to believe.

Whatever it was that made you catch feelings for your best friend, you wish you can find it and destroy it, along with any other memory you’ve made with him. After tonight, you want him erased from your cherished memories.

---

part two!

#5sos imagines #5sos blurbs #5sos drabbles #5sos one shots #5 seconds of summer imagines #5 seconds of summer blurbs #5 seconds of summer one shots #5 seconds of summer drabbles #luke hemmings imagines #luke hemmings blurbs #luke hemmings drabbles #req #5sos preferences #5 seconds of summer preferences #5sos imagine #5sos preference #5 seconds of summer imagine #5 seconds of summer preference

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xonepeacelovex · 3 years

Text

stray kids imagines as taylor swift’s songs from taylor’s version album ft. hyuncam | part 2

part 1

han jisung

jump then fall

it is rude to stare

you know and yet you can’t stop yourself

you are surely deeply madly lovestruck with jisung

and it’s driving you crazy

jisung, a transfer student

good at everything

aces every exam

that you studied hard to pass

that he made it looks so easy to ace

he’s a threat to your standing

and yet you can’t hate him

not when he’s the only one who is not scared of you

he became a friend

and then someone who makes your heart flip

truth hit you too hard

when the uninvited feeling crawled to your heart

you hate how jisung makes you feel like a puppet doll

you mirror everything he does

when he smiles you automatically smiles

you laugh at his dad jokes

which you don’t do

you like a quiet and peaceful high school thus the lone wolf facade

catching yourself smiling

you cough and made your way to your seat

beside jisung

he greeted you a good morning

which you just nodded

and despite the tight lipped smile and cold greetings

he still smiles at you and excitedly listens to your class

accustomed to you already

“it’s rude to stare”

your eyes widen, caught red handed

you are in the library, looking for a reference book

when you saw jisung sleeping, sun shining down on his face

you’ll walk away that moment when your heart starts pounding

though you thought he’ll be uncomfortable with the sun light

and what if the librarian caught him

so you absentmindedly walk towards him

blocking the sunrays with a book

like you are bewitched you stare at his face

he still hasn’t moved, eyes closed

you can’t think of any good excuse so you decided to go with the flow

he opens his one eye, to check your reaction

closing it again before chuckling

he sit up properly and stretch his arms

“if you’ll remain silent, i’ll think you did it on purpose”

“what if i did?”

“are you telling me you like me?”

“yes.”

you said confidently, there’s no backing out

you nervously look at his reaction

he’s searching your eyes for a hint of mischievousness

he remained silent

“if you’ll reman silent, i’ll assume you don’t like me”

“no. it’s not like that. i’m just scared.”

“of what?”

“of falling harder for you”

lee felix fearless

“wait felix. you’ll catch a cold.”

you shouted to your prom date

he happily hopped on the way to his car

you look at the suit in your hands

he gave it to you to use as a shield from the rain

“have this” he said then running towards his car

if only you have a choice not to go to this prom

but felix somehow made you go

*flashback*

“what the heck is this felix?” you whispered to him, making him satnd up from his kneeling position

“a promposal” he answered

your friends are giggling behind you

“for whom?” you asked him, perplexed

“for you.” he said a little louder, kneeling again with the bouquet of flowers

you look at him

he’s definitely paying you back with the stunt you did to him

everyone is cheering him on

you smile at them and look at felix

holding his arms to make him stand up again

you accepted the flowers without words

and he smiles at you and then at everyone surrounding both of you

you want to wipe that grin in his face

*end of flashback*

you can’t let him be alone in the rain with his suit above your head

so you decided to run under the rain, following felix

and he’s still unlocking his car, you cover his head too

even though it’s useless now

the suit too small for the both of you

you became soaked up by the rain

you thought you’ll hate being wet by the rain

but as every rain drop fell on your face you felt different

it’s exhilarating

lowering the protection you are holding, forgetting to use the suit as a cover up

a smile making it’s way to your lips

you look up at the sky

feeling every raindrop, it makes you feel like a kid again

no wonder why felix is smiling while looking at you

“you look like a kid” he teased

you look at him, keys still on his hands

he planned this

he has no intention of getting in in the car

“may i have this dance with you?” giving his hand out to you

you take his warm hands

he suddenly pull you towards him

heat radiating from his body made you stayed close to him

hugging him completely, closing your eyes

while he sways and your body just follows his

going to prom isn’t bad at all, you thought

and you are glad he asked you to his date tonight

you open your eyes, and he’s already looking at you

“not bad, right?”

“not bad if we don’t-”

he sneezed, moving away from you

“catch a cold” you continued

he shiver and then fix his messy wet hair

and your heart did a somersault

you look at the man responsible for it

“glad i didn’t turned you down”, you whispered

he heard you and hold your gaze

you sneezed also, ruining the moment

while you both laugh heartily under the pouring rain

kim seungmin

hey stephen

you don't really see the point of crushes

until you met kim seungmin

your first happy crush

and you see, happy crushes are supposed to be happy

but you're not

seungmin indeed is one of those heartbreakers

that didn't meant to hurt others

he's either oblivious that everyone likes hin

or he doesn't care about love

like you, before you developed feelings for him

it was just supposed to be a happy crush

plus feelings are not your thing

but seungmin really did captured your heart

and you are happy with just his existence

so you don't know why he's walking towards you

smiling, waving at you, like he knew for years

"y/n"

your brain stopped working that moment

how the hell he did know your name

and why is he smiling 🙂

that moment you thought to yourself, “you’re doomed”

and started thinking “is is still a crush?”

seungmin called you again

flustered that he caught you staring at him

“hey seungmin”

you brushed off the way he’s looking at you with playful smile

“what are you writing?”

and not to be simp but you are writing a poem about feelings

feelings for him, specifically

you immediately closed the notebook

“how do you know my name?” you asked, getting yourself together

“what?”

“how do you know my name? we are not even classmates”

“uhm... you are right” he looked around, avoiding your eyes

you looked around also, noticing the group of girls from a distance

you chuckles when you saw it

“are you using me as an escape?”

“yes” he confessed without hesitation

you nodded

“and i knew your name through jeongin”

it’s safe to say you are not the only one with a happy crush

i.n/yang jeongin today was a fairytale

directing a play is stressful

you are not even the club president

your best friend was though

so when she asked for help with puppy eyes

you can't just say no

you did say yes to production

making stage props and wardrobe are manageable

and watching them rehearse for it is enjoyable

the leading man, jeongin, is a good actor and singer

he also helps you make the props during their break

“does this need a second paint?”

you jump from the scare, hands flying to your chest

you are currently humming the song for the play

when you saw him, laughing at you, you sigh

“please don’t scare me like that again”

“i’m sorry”

“okay, and yes”

“why are you alone though? where are the others?”

you shrug and his facial expression turned into some kind of anger

that you don't think he can express cause he's so nice every time

he silently paints with you

it’s not that you are not aware the other official club members are not helping at all

cause they are, leaving all the works to you

and you can’t complain to your best friend

she’s stress enough to manage the production

you came home exhausted that day

the next day, all the club members that are supposedly helping you with the production are there making props

and you see jeongin winking at you

you thought it will be smooth sailing from there until

when the leading lady literally broke her leg

your best friend breakdowns in front of you

you and jeongin are comforting her

“who’s gonna replace her?” your best friend said, exasperated

jeongin points at you, “y/n has the script memorized!”

your eyes widen, “what?!”

your best friend looks at you with expectation “do you?”

you bit your lip, “yes”

she holds both of your hands “please?”

you sigh, “okay,”

and now, you found yourself as a leading lady

you are not for the spotlight and yet you are starting to enjoy acting

"okay now we are at the scene where jeongin will kiss you"

"what?!" you both said as you look at each other

"did i forget to give you the updated script? oh my gosh yes!" your bestfriend answered her own question as she opened her laptop searching for its soft copy

"i'll print it for you guys but let's continue rehearsing"

jeongin slowly walks up to you

following every words of your bestfriend

your eyes stayed at him, as he stop in front of you

you gulped, heart beating faster

your first kiss

your first kiss will be with jeongin

you bit your lower lip as he leans forward

his left hand on your back while the other is holding your cheek

you closed your eyes, not ready for any of these

jeongin felt your nervousness

so he angled your face

you felt his breath on your cheeks

he kisses your nose

you opened your eyes and stared at jeongin

as he smiles at you

"cut! let's take a break" your best friend shouted

you back away from him, heart pounding louder

you cleared your throat as you walk to your best friends without saying anything to jeongin

dragging her outside the theatre

"why you didn't say there will be a kissing scene?" you confronted her

"i'm sorry really the scripwriter changed it last night. he thinks it is necessary to the story," she apologized

you sigh, you can't just say to her that it will be your first kiss

on the day of the play, you are nervous but for another reason

you don't know if jeongin will kiss your lips

you can't fake the kiss in front of a hundred people

but he act so well that he made the kiss like a real kiss as he angles your face

and you are thankful and disappointed too

why?

for the past weeks you've harbored a crush for jeongin

as the curtain closes and all the actors and actresses went to the backstage

jeongin slowly walks up to with a rose in a hand the one he got, he handed it to you

"i know you don't like me but i like you" he confessed and as he walk away you hold his hand and pull him to you

finally kissing him

A/N: I need to make a part 2 because Tumblr won’t let me add anything on the first post. I had to cut Jeongin’s part abruptly because this post is too long (Tumblr said it). Anyway, have a good night.

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stuckinapatriarchalbullshitland · 3 years

Text

How the music world works

Hi guys!! I’m back again with another long ass post. I’m the Italian Anon, F Anon, and, for those who don’t know, the same one who wrote: “There is a light at the end of the tunnel” – “Hi Ciao Hola” - and the “Camren timeline”. So, yeah, hi, my lovely fellows CS. 🥰

I spent the last days writing this post, Mari/Stuck can confirm this to you guys, and it’s dedicated to all those who want to understand a little bit more how this shit works. Maybe understand even more what the girls went through. There would be many more things to say, but I’ve tried to summarize as much as possible and include the things I think are the most important.

Premise: I’m not an expert. These are simply things I know because I’ve loved music since I was a kid and because I’ve always been intrigued by the music business and how it all works.

Okay, that said, grab something to eat or drink, and let’s get started:

Bear in mind that the music industry uses what are called ‘royalties’, calculated in percentages, for any form of payment.

Copyrights:There are two types of copyrights in the music world regarding a song: 1) one for master recording, and 2) one for music/composition.

1) ‘Master’ is a term used to refer to the copyright of a song’s final and effective original audio recording. The copyright of a master’s recording can belong to an artist (artists) if they’ve recorded independently, [and if they’ve recorded with a producer then also to the producer who gets a small share of the master’s rights (up to 12%) in producer royalties], or to the record label, or to the recording studio if the artist is unable to pay for the recording services, or to any other X person who financed the recording.

2) The copyright for the music/composition belongs to the authors, that is, the songwriters (lyrics) and the composers of the song (melody). Owning music copyrights allows authors to control who can play their song, or distribute it, or publicly perform it by doing a cover, or sample a piece of the original composition to use for a new song, etc. Therefore, whenever a record label or a singer wants to record a song that is not their property, they must ALWAYS apply for a ‘mechanical license’ (which allows them to do everything I’ve just written) from the authors who are the legitimate owners. These copyrights can be fully transferred and assigned to others, usually publishers, who can authorize the use of that music through the transfer of a mechanical license, issued in exchange for a money contribution (mechanical royalties).

So, to recap to better understand. If someone records an artist/songwriter’s song, they own the copyright of the recording of the master/song. They DON’T own the lyrics of the song because there’s a difference between the authors of a track and the actual owners of the master recording. The musical composition made by the authors is generally represented by a publisher, while the sound recording, made by the artist and the music producer, is generally represented by a label.

In 5H’s case, Simco Limited still owns both copyrights. First of all because, especially for Reflection and 7/27, they didn’t have the chance to write and be legally recognized as songwriters except for ‘All in My Head (Flex)’ (and I believe they definitely did ghostwrite something). And secondly because, a recording agreement states that the label becomes the owner of all the master recordings recorded by the artist during the period of the agreement. Therefore, upon signing the contract, the artist is forced to cede the copyrights of the master recording [Cede/Assign: is the transfer of ownership for the entire duration of the copyright. In the case of sound recordings, it’s 50/70 years from their release. It doesn’t matter if artists manage to reimburse all recording expenses, those recordings/songs, including unreleased recordings, will still be labels property] to the label and to the publisher, which is often the label itself. In most cases, it is. In their case it’s a little different though. Although their contracts were with Syco and Epic, record labels, it’s Simco Ltd. (Limited), holding company, that still owns the copyrights for music and sound recordings. Simco Limited (Salmon Simon) is used to own copyrights and grant licenses, and indeed, Syco, which was in a collaborative partnership with Epic (both Sony), granted the exclusive license rights to Epic. When 5H signed the contracts, they ceded both copyrights to Simco, which granted the master recording copyrights to the publisher, in 5H’s case, the publishers. Of the many they had, four of the most important ones: Simco itself, Syco, Epic, and Sony.

Publishers: Publishers are responsible for the authors’ copyrights license and administration, and part of their job, is also that of pushing authors’ music by promoting it and actively trying to get it included in TV, movies, advertisements, etc. The authors grant publishers the copyright of their musical composition through a publishing contract, and publishers are responsible for ensuring that the authors receive a royalties’ payment when their compositions are commercially used and for monitoring where this happens.

This royalties payment takes place thanks to the registration of authors’ music that publishers make to collection agencies such as MRI (Music Reports, Inc.) and HFA (Harry Fox Agency), which take and distribute mechanical royalties, usually 50/50 between publishers and authors, and ASCAP (American Society of Composers, Authors and Publishers), BMI (Broadcast Music Incorporated), and SESAC (Society of European Stage Authors and Composers), which take and distribute performance royalties, usually 70% to authors and 30% to publishers.

Labels and publishers are not always the same thing, and indeed, there are four types of publishers: 1) administrator, a person or a small company, 2) independents, 3) major publishers, (labels) such as Sony, Warner, Universal, Epic, Columbia, etc., and 4) self-publishing, an author who holds the role of publisher themselves. They all do the same job but the differences between them are two: the first one is that among the first three, the difference is in the royalties’ commissions that start from the lowest (administrator) to the highest (major publishers), and the second one is that independents and majors can also provide advances. Majors especially, advance millions of dollars to the authors in exchange for a percentage that can reach up to 50% of royalties.

Distributors: A music distribution company signs deals with record labels or artists which then give them the right to sell their music. Distributors are simply concerned with providing music to consumers, not only by taking it to the stores to sell it, but also online for both sale and streaming. Their commission varies according to the agreements, but is usually 15%. Distributors can be real stores, record labels, and digital online like: SoundCloud, LANDR, Baby CD, TuneCore, DistroKid, etc. which pass it to Spotify, Apple Music, iTunes, Tidal, Amazon Music, Deezer, Napster, Google Music, Shazam, YouTube, etc.

Ghostwriters: Ghostwriters are authors who write on commission. The musical ones, can write an entire song or even a single sentence for an artist, without of course receiving credit for doing so. That’s exactly why the name ghostwriter/s. Ghostwriters sell their songs to record labels for their artists or can be contacted specifically to write a song. When ghostwriters sell their songs, they sign a contract with a confidentiality clause and receive a payment in advance. A big payment, by the way. Some ghostwriters remain copyright owners of their song, so they not only earn on the advance received for the sale of the song, but also receive some royalties when the song is used. Other ghostwriters, on the other hand, most of them actually, also sell copyrights, and for this reason, they earn absolutely no percentage in royalties because the song they sold is no longer theirs.

Labels: Record labels earn money when their music is purchased, downloaded, streamed, and licensed for use. When an album is released, the label derives a percentage of profits from the total sales in royalties. The percentage may vary according to the agreement that the artist initially signs in the contract, and of course, the more the artist is of a high level, such as Beyoncé or Rihanna, the lower the percentage obtained from the label. The percentage can be 97%, or 95%, or 90%, or 88%, or 85%, or 83%, and so on, but usually never below 75% unless the label is an independent label. The remaining percentage, whether it’s 3%, 5%, 10%, 12%, 15%, 17%, and so on, is given to the artist. But before the artist is paid, there’s the ‘recoupment’, that is, the label recovers all the expenses invested. And from their percentage, the artist has to subtract royalties that are to be distributed to the producers of the songs, to management managers, to the business managers, to the lawyer, etc. Producers’ royalties vary from 1 to 3% of the record’s selling price, managers’ ones vary from 15 to 20%, and business managers’ and lawyer’s ones are usually 5%. AFTER the costs have been reimbursed, the artist gets paid.

When an artist is signed by a label, the latter buys some songs for the album from authors and ghostwriters, and invests on the artist by giving them an advance to make that album. This advance is mainly reserved to pay for the recording of the album, and this means paying for the recording costs, which include the payment of the recording studio or more recording studios, the payment of instruments and equipment, the payment of producers, arrangers, assistants engineer, recording engineers, editing engineers, mixing engineers, and mastering engineers, the payment of the artwork that includes covers for the album and singles, both printed and digital, album booklet, promotional pictures, merchandising, etc., etc., but a part of this (advance), is given to the artist as ‘living expenses’, that is, as personal use.

Example: Let’s say the label gives $100,000 in advance to the artist. $80,000 must be reserved for recording expenses and the remaining $20,000 are artist’s for personal use. If this $80,000 are enough to record the album, things remain unchanged, but it may happen that it takes more money to record, or even less. If it took less, that money is added to what the label gave the artist for personal use. Let’s say that it took 70,000 to record the album, the remaining 10,000 are added to the artist’s 20,000, thus becoming $30,000. If, on the other hand, it took more, the artist must pay the difference or the label has the right to terminate the contract. Let’s say it took 90,000 to record the album, it’s up to the artist to take $10,000 from the 20,000 of their living expenses and add it, in the hope that they haven’t already spent it all on jewelry, clothes, and cars as many artists have done in the past, thus finding themselves in debt to the label from the very beginning. Same thing if it took more than 100,000 to record the album; the artist starts getting into debt even before the album is released and the label could conclude the contract. But, if the label exercises their option for another album, cross-collateralization takes place. Cross-collateralization allows the label to sequentially recover the money advanced for past, present, and future albums, considering them as a single total advance. Example: the label advanced the artist $200,000 to record the first album and $300,000 for the second one. For the first one, they only managed to return half, and for the second one, 200,000. These two debts (100,000+100,000), accumulate together by becoming a single debt to be paid in the third album.

It’s therefore important that the artist doesn’t go over budget, especially because, in addition to the advance to make the album, the label advances the artist more money to pay for many other things, such as music videos, promotions, designers and costume designers, make-up artists, choreographers, travel, merchandise, tours, etc., along with paying the management to advertise such as, booking TV shows, paying radio stations to play their music, and SO on. So, basically, the investment that the label makes towards the artist concerns:

1) the purchase of some songs.

2) the advance, which includes 3) the recording costs, which in turn include the payment of the recording studio/s, the payment of instruments and equipment, the payment of producers, arrangers, engineers, artwork, etc., 4) and 50% of marketing and promotional and legal costs.

Then 5) the packaging costs that vary from 15 to 25%, which include: both the physical sale (CDs, vinyl, cassettes) and the digital download of the album despite the fact that there’s literally nothing to physically pack, - the breakage costs which vary from 10 to 20%, and which are a precaution for possible breakage (CDs, vinyl, cassettes) during shipping, - the digital breakage costs, which is completely ridiculous given that, especially in this case, there’s literally nothing to physically pack, - the free goods which vary from 10 to 20%, and which concern a certain number of album copies that the label gives to distributors, radios, and other entities for promotional purposes, and since these goods are NOT considered as sold, the artist doesn’t compensate for those free albums since they’re paid only for (physical and digital) sales and streaming of the album, - and the reserve costs which are a precaution that the label takes by temporarily withholding a small percentage of the artist, considered to be a reserve, against potential returns that happen only when the stores send back the unsold albums to distributors by receiving a refund.

6) 50% of the video production costs from which the label usually also derives 50% commission on the royalties’ share earned by the artist.

And lastly, 7) the tour support costs.

Royalties and licenses, and there are several:

The artist royalties, also known as recording royalties and master-generated royalties, are those earned by the label and the artist thanks to the sales of their music. Whether it’s the digital sale, or if it’s downloaded, or streamed, or whether it’s the physical sale, that is that of a CD, or of vinyl, or of a cassette. The royalties are collected by the distributors, who draw up a maximum of 15% commission, to then distributing them in division to the label and the artist on the basis of the agreements made. Let’s say, for example, 85% on the label and 15% on the artist.

The mechanical royalties, like artist royalties, are those generated by all old and new music formats such as: CDs, vinyl, cassettes, digital downloads, and streaming services. But unlike artist royalties, these are earned by authors (songwriters and composers) when the song is: played and sold as a ringtone, streamed through on-demand services (e.g.: Spotify and Apple Music), sold for digital download (e.g.: iTunes and Amazon), performed by someone else as a cover, sampled and used for a new song [in addition to the mechanical license (the rights in the form of permits granted by the authors to use their music), a master license (the rights in the form of permits granted by the owner of the master recording to use a pre-recorded version, therefore with the voice of the artist who sings the song, of a song in a video or audio project, but doesn’t allow to be recorded again with a voice other than that of the original singer) is required to do so], modified in other versions (like for e.g. a remix of the same song) and performed by someone else (besides the mechanical one, it requires a master license to do so), and bought from a store (usually it happens with albums and not with single tracks).

These royalties are collected by a mechanical licensing organization such as Music Reports, Inc. (MRI, which manages those of Apple, Pandora, Amazon, SiriusXM, Microsoft, etc.) or the Harry Fox Agency (HFA, which manages those of major record labels: Sony, Universal, and Warner), which usually draw 11/12% commission from them and then distribute them in division to publishers and authors for musical composition. A single streaming listen generates both mechanical and public performance royalties. But to make a single dollar, on Spotify for example, it’s necessary to obtain about 230 streams on that song. Artists DO NOT earn any mechanical royalty unless they’re writers or co-writers of the song.

The public performance royalties are earned when a song is broadcast or performed publicly. That is, when a song is broadcast on the radio, on TV, or at the movie theater, or at a game, or in a club, or in a restaurant, or in a hotel, or in a shop, or in a gym, or from a jukebox, or in a live concert, etc., etc. Organizations such as BMI (Broadcast Music Incorporated) and ASCAP (American Society of Composers, Authors and Publishers) also called PRO (Performance Rights Organization) where songs are registered with licenses and legal rights and which (these organizations) protect and act on behalf of those who hold the copyrights of authors and publishers, even granting public performance licenses (the rights in the form of permits granted by authors to use their music in public), are the ones that collect these royalties by usually drawing 16/18% commission, to then distributing them in division to publishers and authors for musical composition. Another PRO organization such as SoundExchange, on the other hand, is responsible for collecting royalties by usually drawing 14/15% commission, and then distributes them to: the featured artists of the song, usually at 45%, to the copyright owners for the master recording (usually the label) at 50%, and to the non-featured artists (artists not present in the song) such as for e.g. chorists, at 5%. As with mechanical royalties, artists DO NOT earn any royalty from public performances unless they’re writers or co-writers of the song.

*** Remember how I said earlier that management (through the label) pays radio stations to play their artist’s music? Well, that’s because radio stations have to pay a PRO organization in their turn to be able to play it, and in short, if they want to work. Basically, based on what the artists/management have paid to have their song played, the radio stations create a list of all the songs. About once a month, the radio stations deliver the list, which indicates which songs they’ve played and how many times they’ve played them, to BMI or ASCAP, on the basis of who they have agreements with, or to both. Radio stations have to pay a blanket license (the rights in the form of permits granted by authors and issued by PRO organizations to have access to a part or complete repertoire of authors’ songs for a fixed annual fee. Such as, for example, precisely a radio station, or a shopping mall that wants to play background music) fee to BMI or ASCAP, which then in their turn transfer the money/royalties to songwriters, composers, publishers, and record labels. Each track’s play that one of the biggest commercial radio stations does, generates about $12 in royalties. Those 12 dollars, multiplied by every single time the song has been played on the radio, are collected by BMI or ASCAP, then equally divided, and delivered. If an artist wants their single on the radio, they pay about $500 to $1,000 to $2,000. If they want it to be played often and advertised more, they pay between $100,000 and $125,000. And for the single to become the number one hit on the radio, the artist has to pay around $200,000, sometimes it can cost over $350,000/400,000. Costs vary depending on the radio station and the competition. Payola isn’t a practice that’s SO illegal after all, since EVERYBODY does it! Ask the song Despacito that. Oh, hey! Hey, girl, how ya doin? I saw that Baby Shark, a fucking children’s song, top you on YouTube. ***

The synchronization royalties are generated when copyrighted music is paired or ‘synchronized’ with visual media, such as: movies, trailers, tv shows, commercials, video games, music videos, etc. In the case of movies, royalties are also generated both for performance, derived from the performance of the song at the movie theater and on TV, and mechanicals, derived from the physical and digital sales of the soundtrack. If, for example, a person wants to use a copyrighted song for their YouTube video, along with the synchronization license (the rights in the form of permits granted by the authors and issued by PRO organizations to use the authors’ music coupled with visual media, and unlike the master license, this allows to re-record the song with a voice different from that of the original singer), they will need the master license by making an agreement with the owner of the master recording, such as a record label. Just as with performance royalties, these are collected by PRO organizations and distributed among publishers and authors. Artists earn from these royalties too.

The copyrights royalties belong to the authors of the song. Authors, who may be songwriters and composers, grant their rights as authors and copyright owners to publishers. Royalties are divided between publishers and authors. Very often, 50/50 for both synchronization royalties and mechanical royalties, but this depends a lot on the agreements made between them. As for mechanical royalties, if publishers have provided an advance, the percentage they’re entitled to can be up to a maximum of 50% royalties. Authors are guaranteed a minimum of 50%, and some agreements can give them up to 90% of the profits. If an author is self-published, in the sense that they act as their own publisher, they can receive 100% of the mechanical royalties. As for performance royalties, on the other hand, publishers receive 30% and authors 70%. Based on how many songwriters and composers there are, that 70% is divided into equal parts. For example, if it’s two of them, 35% and 35%. Unless, by mutual agreement, they decide to divide them differently, like: 50% and 20%, or 47% and 23%, or 60% and 10%, always to reach 70%. It usually happens when one of them has contributed more to the song.

Print license, the rights in the form of permits granted by authors to be able to make copies or reprint the lyrics of the scores of one of their songs. Theatrical license, the rights in the form of permits granted by authors to use their song on a theatre stage in front of an audience.

Basically, the artist earns very little or no earnings at all because they get into debt, especially if they’re not a songwriter and don’t co-write their music. The way in which the artist really earns is thanks to merchandising and the tour. The artist takes the percentage that varies from 75 to 90% of the ticket price. Labels, on the other hand, gain on all fronts. They earn mainly thanks to 360-degree contracts, also called multiple rights deals, which allows them to receive a percentage of artists’ ancillary rights, that is, artists’ earnings deriving from everything they do. So, not only do they earn when their artists’ music is physically and digitally purchased, streamed, and licensed for use, but they also earn from songwriting incomes, concert and live performance incomes, merchandise sales, licensing, endorsement and sponsorship deals, movie and TV appearances fees, ringtone sales, etc., etc.

Like, for example, once the artist signs the recording agreement and the labels become the owners of all the master recordings, they put the artist to work with songwriters chosen by them to write songs that the artist sings, and they earn from the public performance licenses (having the songs put on the radio, in movies, on TV, etc.) they have granted as publishers. And in this case, not only do they earn royalties that go half to publishers (themselves) and a half to the songwriters they hired (and IF, only IF the artist has written something in the song, then they get their share which is also made in half with the songwriters), but also by having the artist sign a mechanical license agreement that allows them to release CDs, vinyl, cassettes, sell digital downloads, and streaming services. The artist then gets into debt with the labels, usually with advances of millions, and tries to earn on tour with the proceeds from ticket sales and merchandising to pay back all the advances. They find themselves in deep shit, also because those debts will be carried on in the next albums thanks to cross-collateralization, and if they try to rebel, the labels stop promoting them and their songs, and as a result of that, sales decrease by cornering the artist even more since they would no longer earn their artist royalties. It can also happen that, when they’re under enough pressure, the artist can be dropped by the labels in exchange for the absolute renunciation of all rights of their own music. When this happens, the labels/publishers start to strongly promote the artist because by then, they and their writers are the ones to get all the money. None for the artist.

Practical examples about 5H to explain everything:

I would like to clarify that, except for the actual sales numbers of the albums I researched, these are examples of numbers I invented. I’m gonna base the real data on invented numbers to help you understand how it all works. In truth, there would be a lot more things to calculate than what I’m gonna show and, of course, the numbers are much higher in the real world as we’re talking about major labels that are known to be willing to advance millions. In my examples, 5H will not be indebted into the final earnings estimates. The reality is, however, that the girls were in debt. At 100%, at least definitely until 2016. Having said that, we can start with their EP: ‘Better Together’.

The Better Together era lasted for a year, to be more precise, from July 16, 2013, with the release of ‘Miss Movin’ On’, until July 7, 2014, when they released ‘BO$$’. As I’ve already said, I’m gonna only use the real sales data of the albums, in this case, the EP. I won’t use anything else, although I know they made money from other projects. Therefore, I won’t include the earnings from: ‘Juntos’, the covers they did on YouTube (‘Thinkin’ Bout You’ by Frank Ocean, ‘American’ by Lana Del Rey, ‘Lego House’ by Ed Sheeran, ‘Stay’ by Rihanna, ‘Red’ by Taylor Swift, and ‘Honeymoon Avenue’ by Ariana Grande), the two covers (‘Mirrors’ by Justin Timberlake and ‘When I Was Your Man’ by Bruno Mars) they did with Boyce Avenue in their EP ‘Cover Collaborations, Vol. 2’, the collaboration they made with Mattel who launched the Barbie doll collection inspired by them ($19,99 each), together with the promotional song (‘Anything Is Possible’, + the video) and the episode (‘Sisters’ Fun Day!’) in which they appeared as their dolls, the collaboration with AwesomenessTV for the takeovers (from 2013 to 2015), the appearance in the episode 2x06 of Faking It, the collaboration with Wet Seal for their clothing lines, etc., etc.

As for Better Together, Fifth Harmony sold a total of 120,000 copies worldwide, of which 51,000 album-equivalent units and 69,000 traditional sales. In America, the album-equivalent unit is calculated as follows: the sale of 1 album is equivalent to 10 songs downloaded, which in turn are equivalent to 1,500 streams of a song. 51,000x1,500= 76,500,000 streams. 382,500 in royalties from Apple Music, 306,000 from Spotify. I’m gonna use only and exclusively Apple’s royalties in my examples, so let’s pretend that all the royalties they earned from selling the album-equivalent units (51,000), come from there. Now, the original price of the album was $4,99, and having sold 69,000 copies of the physical album (CD), we get the sum of ($69,000x4,99=) $344,310. The sum of both sales brings us to a total of ($382,500+344,310=) 726,810 dollars/royalties earned.

We know that Simco Ltd. gave the exclusive license rights to Epic, which invested the money and then shared the profits with Syco. Therefore, we know that it was Epic that gave 5H the advances to record the albums. We also know that things were pretty bad until the end of December 2015, when thanks to the intervention of Dina LaPolt (the musical lawyer they hired at that time – she didn’t represent C), they managed to renegotiate and adjust their contracts. Dina said: “Every agreement they signed, were the worst I’ve ever seen in the music business”, and thanks to that, we can imagine how high the profits Epic and Syco made. Of those 726,810 royalties earned from EP sales, let’s imagine that Epic, according to Dina’s words, made 92% of profits from the girls’ artist royalties. 726,810-8%= 668,665.2, rounded 668,665, *I’m gonna round all numbers automatically*, from which Epic subtracts 15% commission to give to the distributors (like Sony Music Entertainment) of the album (668,665-15%= 568,365), before splitting the sum in half with Syco (568,365÷2= 284,183). All this would leave (726,810-92%=) 58,145 royalties to 5H. …right? No. Why?? Because before being paid, they have to subtract the royalties to give to producers (let’s imagine 3%), management managers (let’s imagine 20%), business managers (let’s imagine 5%), and the lawyer (let’s imagine 5%), [actually a lot of other people too, but I’m gonna just calculate these], and then, most importantly, the recoupment happens.

Epic recovers:

1) The advance, which let’s imagine to be $380,000. Of these $380,000, $250,000 was initially intended to cover the costs of creating an album (LP), but since they eventually opted for an EP, let’s imagine that the advance dropped to $300,000. Now, of these $300,000, 190,000 had to cover:

2) the recording costs, which included the payment of recording studios (there were six for the EP), the payment of instruments and equipment, the payment of arrangers, assistants engineer, recording engineers, editing engineers, mixing engineers, and mastering engineers, the payment of the artwork that includes covers for EP and singles, both printed and digital, EP booklet, promotional pictures, merchandising, etc., etc.

3) 50% of the video production costs, that is, the costs for the music video of the first official single extracted from the EP, let’s imagine $50,000 for ‘Miss Movin’ On’, therefore $25,000.

and 4) 50% of the marketing and promotion costs for ‘Miss Movin’ On’ and the EP: radio stations, TV shows, interviews, billboards, magazines, advertising on websites and social media, merchandising, etc. Let’s imagine 150,000, therefore 75,000, thus leaving (300,000-190,000-25,000-75,000=) $10,000 as living expenses, (10,000÷5=) 2,000 each.

But that’s not all. Epic also advanced other money during the EP era, and also recovers these:

5) the packaging costs, let’s imagine that they are 20%, which include the breakage costs, let’s imagine 10%, and the free goods, let’s imagine 10%.

3²) 50% of the video production costs for the second music video extracted from the EP as a promotional single (‘Me & My Girls’), let’s imagine another $40,000, therefore $20,000. [So from here, the label not only recovers the anticipated costs for making the videos, but they usually even get 50% commission on the artist’s share of royalties earned on the views].

And lastly, 6) the tour support costs: book and promote tour dates, make sure of having approval and sponsorship agreements, hire a team for the tour, travel, hotels, restaurants, choreographies, costumes, makeups, tour merchandise, etc. Let’s imagine $300,000 for all seven tours [Four tours of their own (2013: Harmonize America Mall Tour. 2013: Fifth Harmony Theatre Tour. 2014: The Worst Kept Secret Tour. 2014: Fifth Times A Charm Tour), plus the three for which they were the opening acts (2013: Cher Lloyd, I Wish Tour. 2014: Demi Lovato, Neon Lights Tour. 2014: Austin Mahone, Live on Tour)].

Having co-written three out of seven songs on the EP, the girls earned: let’s imagine 70% public performance royalties (minus let’s imagine 14% to give to PRO organizations), 50% synchronization royalties (minus let’s imagine 14% to give to PRO organizations), and 50% mechanical royalties (minus let’s imagine 11% to give to mechanical licensing organizations such as MRI and HFA) as songwriters. Therefore, we’re gonna do: 100% of performance royalties, minus 14% to give to organizations, is equal to 86% (100-14=86). 86% is to be divided between 30% that goes to publishers, and 70% that goes to the girls. 30% of 86 is 25.8/26, while 70% is 60.2/60 (60.2+25.8=86 / 60+26=86). Same thing with synchronization royalties (100-14=86. 50% of 86 is 43), and mechanical royalties (100-11=89. 50% of 98 is 44.5/45). The sum of 5H royalties is (60+43+45=) 148.

These 148 are now to be divide with the other songwriters of the three songs. For ‘Don’t Wanna Dance Alone’, they are to be divide with two songwriters (Julian Bunetta, Andre Merrit), for ‘Who Are You’ with three (Julian Bunetta, PJ Bianco, Nasri Atweh), and for ‘Me & My Girls’ with four (Julian Bunetta, PJ Bianco, Beau Dozier, John Ryan). Six songwriters to divide them with. I say six because Julian Bunetta is in all three songs, while PJ Bianco is in two. Therefore, let’s divide the royalties between 5H and the six other songwriters: 148÷7= 21. This would be 5H’s gain for performance, synchronization, and mechanical royalties. [It’s obviously not a complete calculation because to that number, the numbers of plays and sales of the three songs taken individually must be added. I remind you that this is just a generic example to help you understand how it works]

By doing all the calculations:

[300,000 (initial advance) – 10,000 (living expenses)] = 290,000 (recording costs, ‘Miss Movin’ On’ video, marketing and promotion) + 20,000 (‘Me & My Girls’ video) + 300,000 (tour support) = 610,000.

58,145 (artist royalties earned) – 73% [3% (to be given to the EP producers which were three) + 20% (to be given to the management managers) + 5% (to be given to the business managers), + 5% (to be given to the lawyer), + 20% (packaging costs) + 10% (breakage costs) + 10% (free goods)] = 15,699.

15,699-610,000= -594,301.

This, would be 5H’s proceeds. $594,301, (594,301÷5=) $118,860 each, of debt with labels. Now, let’s imagine a $1 million profit from the seven tours, from which let’s imagine that 5H took 80% on the sale of a ticket price. Not owning their trademark (5H Partnership) yet, and as crappy as their contracts were, let’s imagine they didn’t get any percentage from the tour’s merchandise.

1,000,000-20%= 800,000. By subtracting the debt from this new figure, we get: 800,000-594,301= 205,699.

205,699 + 21 (performance, synchronization, and mechanical royalties earned) + 10,000 (living expenses) = 215,720.

And lastly, by dividing the share equally among the girls, we get: 215,720÷5= 43,144. ß This, would be the final figure of the total dollar earnings per head of 5H’s Better Together era, which I remind you lasted for a year. A spit, basically… But, if the tours hadn’t compensated enough to overcome the label debt, cross-collateralization would’ve occurred. That debt, let’s imagine the same debt that I mentioned earlier, -594,301, would’ve been carried on for the next album if the label had exercised the option of recording another one (-594,301+-594,301= -1,188,602), and the next one (-594,301+-1,188,602= -1,782,903), and so on, more and more accumulating with variations of increases or decreases in the debt figure based on how much the girls would’ve been able to pay off whenever it was possible for them.

Oh and, I forgot. From that figure, that one of the total earnings (215,720), they also had to pay taxes…

Even in this case, I’m gonna only use the real total sales data of the album: ‘Reflection’. And even in this case, I won’t use anything else, although I know they made money from other projects. Therefore, I won’t include the gain on: the two songs they did for the Christmas EP ‘I’ll Be Home For Christmas’ (‘Noche De Paz’ and ‘All I Want for Christmas Is You’ ß + the video) along with other singers, the collaboration with Clean & Clear for which they recorded a series of commercials to promote their products, the collaboration with Candie’s for which they became the face of the ‘5 Girls, 5 Styles’ campaign by also releasing the promotional song (‘Rock Your Candie's’ + the video), the cover of ‘Uptown Funk’ (+ the video) by Mark Ronson ft. Bruno Mars which they did together with Jasmine V., Jacob Whitesides, and Mahogany Lox to promote the tour, the soundtrack for the movie ‘Hotel Transylvania 2’ (‘I’m In Love With A Monster’ + the video), the song ‘Sin Contrato’ with Maluma, etc., etc. The Reflection era lasted for about a year and seven months, to be more precise, from July 7, 2014, with the release of ‘BO$$’, until February 26, 2016, when they released ‘Work from Home’.

As for Reflection, in America alone, Fifth Harmony sold a total of 142,000 copies at the debut, of which 80,000 were album-equivalent units and 62,000 traditional sales. By February 2016, the album sold 155,000 copies (in America alone), so let’s imagine 93,000 album-equivalent units and 62,000 traditional sales. 93,000x1,500 (the album-equivalent unit) = 139,500,000 streams. 697,500 in royalties from Apple Music. The original price of the album was $9,99, and having sold 62,000 copies of the physical album (CD), we get the sum of (62,000x9,99=) $619,380. The sum of both sales brings us to a total of (697,500+619,380=) 1,316,880 dollars/royalties earned. Since we know that they didn’t hire Dina before the end of December 2015, of those 1,316,880 royalties earned from the album’s sales, let’s imagine that Epic still made 92% of the profits from the girls’ artist royalties. 1,316,880–92%= 105,350. 105,350 royalties that we know didn’t go directly to them without first having subtracting those to be given to the producers (let’s still imagine 3%), to the management managers (let’s imagine 15% because they decrease every year), to the business managers (let’s still imagine 5%), to the lawyer (let’s still imagine 5%), and the recoupment.

Epic recovers: 1) the advance, which let’s imagine to be $400,000. Of these $400,000, $270,000 had to cover: 2) the recording costs, which included the payment for the recording studies (there were three for Reflection), etc.; 3) 50% of the video production costs of the first official single extracted from the album, let’s imagine $80,000 for ‘BO$$’, therefore $40,000; and 4) 50% of the marketing and promotion costs for ‘BO$$’ and the album: radio stations, interviews, etc. Let’s imagine 170,000, therefore 85,000, thus leaving (400,000-270,000-40,000-85,000=) $5,000 as living expenses, (5,000÷5=) 1,000 each.

Then Epic recovers the rest of the money advanced during the Reflection era: 5) the packaging costs, let’s imagine that they’re still 20%, which include the breakage costs, let’s still imagine 10%, and the free goods, let’s still imagine 10%. 3²) 50% of the video production costs for the music videos of the other two single extracts from the album, let’s imagine 65,000 for ‘Sledgehammer’ and 95,000 for ‘Worth It’, (65,000+95,000=) $160,000, therefore $80,000. And lastly, 6) the tour support costs, let’s imagine $500,000 for all three tours (The Reflection Tour, Reflection: The Summer Tour, European Reflection Tour).

Since they couldn’t didn’t co-write anything for this album, the only royalties they earned were artist and synchronization ones (minus let’s still imagine 14% to be given to PRO organizations). 100-14=86. 70% of 86 is 60,2/60. On this album, they have three featuring (‘Worth It’ ft. Kid Ink, ‘Like Mariah’ ft. Tyga, ‘Brave Honest Beautiful’ ft. Meghan Trainor), and for this, we have to subtract let’s imagine 14% of commission royalties collected by SoundExchange, which then deals with distributing them to the featured artists of the songs.

By doing all the calculations:

[400,000 (initial advance) – 5,000 (living expenses)] = 395,000 (recording costs, ‘BO$$’ video, marketing and promotion) + 160,000 (‘Sledgehammer’ & ‘Worth It’ videos) + 500,000 (tour support) = 895,000.

105,350 (artist royalties earned) – 82% [3% (to be given to producers) + 15% (to be given to the management managers) + 5% (to be given to the business managers), + 5% (to be given to the lawyer), + 20% (packaging costs) + 10% (breakage costs) + 10% (free goods) + 14% (collected by SoundExchange)] = 18,963.

18,963-895,000= -876,037.

$876,037, (876.037÷5=) $175,207 each, of debt with labels. Now, let’s imagine a gain of $3 million from the three tours, from which let’s imagine that 5H still took 80% on the sale of a ticket price. Not owning their trademark (5H Partnership) yet, let’s still imagine that they didn’t get anything from the tour merchandise. 3,000,000-20%= 2,400,000. By subtracting the debt to this new figure, we get: 2,400,000-876,037= 1,523,963.

1,523,963 + 60 (synchronization royalties earned) + 5,000 (living expenses) = 1,529,023. And lastly, by dividing the share equally among the girls, we get: 1,529,023÷5= 305,805. This, is the total gain of 5H’s Reflection era, which I remind you lasted for about a year and seven months. Still a spit considering how hard they worked, and considering I didn’t include taxes payment.

Let’s conclude with the real data of the total sales of the album: 7/27. By the end of November 2016, Fifth Harmony sold a total of 1,600,000 copies worldwide, of which 1,075,000 album-equivalent units and 525,000 traditional sales. 1,075,000x1,500 (the album-equivalent unit) = 1,612,500,000 streams. 8,062,500 in royalties from Apple Music. The original price of the deluxe album was $13,99, and having sold 525,000 copies of the physical album (CD), we get the sum of (525,000x13,99=) $7,344,750. The sum of both sales brings us to a total of (7,344,750+8,062,500=) 15,407,250 dollars/royalties earned.

Now, what happened here? Thanks to Dina’s entry, there have been a lot of changes. The first one was the fact that they no longer had Eric Greenspan as their lawyer, but Dina herself and Jessie Winkler (who works for Dina at her law firm, LaPolt Law, P.C.). The second one, the change of management. They used to have Jared Paul and Janelle Lopez from Faculty Management. After: Larry Rudolph, Dan Dymtrow, and Tara Beikae from Maverick Management. The third one, their contracts were renegotiated for the better and LAND became the owner of the trademark (5H Partnership) from April 27th, exactly one month before the album’s release, finally being able to earn from their name.

Of those 15,407,250 royalties earned from the album’s sales, let’s imagine that Epic, according to the new agreements made, made 85% of the profits from the girls’ artist royalties. 15,407,250-85%= 2,311,088 royalties which, as we’ve seen, don’t go directly to them without first having subtracted those to be given to producers (let’s still imagine 3%), to management managers (since they were new, let’s still imagine 20%), to business managers (let’s still imagine 5%), to lawyers/Dina&Jessie (let’s still imagine 5%), and the recoupment.

Epic recovers: 1) the advance, which let’s imagine to be $1,000,000. Of this million dollars, 570,000 had to cover: 2) the recording costs, which included the payment of the recording studios (there were two for 7/27), etc.; 3) 50% of the video production costs of the first official single extracted from the album, let’s imagine $250,000 for ‘Work from Home’, therefore $125,000; and 4) 50% of the marketing and promotion costs for ‘Work from Home’ and the album: radio stations, interviews, etc. Let’s imagine 370,000, therefore $185,000, thus leaving (1,000,000-570,000-120,000-185,000=) $120,000 as living expenses, (120,000÷5=) 24,000 each.

Then Epic recovers the rest of the money advanced during the 7/27 era: 5) the packaging costs, let’s imagine that they still are 20%, which include breakage costs, let’s still imagine 10%, and free goods, let’s still imagine 10%. 3²) 50% of the video production costs for the music videos of the other two singles from the album and for the promotional one, let’s imagine 180,000 for ‘All in My Head (Flex)’, 350,000 for ‘That’s My Girl’, and 70,000 for ��Write on Me’ (180,000+350,000+70,000=) $600,000, therefore $300,000. And lastly, 6) the tour support costs, let’s imagine $800,000.

Even in this case, they couldn’t didn’t co-write anything for this album except for ‘All in My Head (Flex)’, but let’s pretend they didn’t have credit for that song. Therefore, let’s imagine that the only royalties they earned were artists and synchronizations ones (minus let’s still imagine the 14% to give to PRO organizations). 100-14=86. 70% of 86 is 60.2/60. Also on this album they have three featuring (‘Work from Home’ ft. Ty Dolla $ign, ‘All in My Head (Flex)’ ft. Fetty Wap, ‘Not That Kinda Girl’ ft. Missy Elliott), and for this, we have to subtract let’s still imagine 14% commission royalties collected by SoundExchange. By owning their trademark (5H Partnership), they not only earned on merchandising, but they also earned on brand licenses (which vary from 25 to 30% according to the agreements), which they granted to Simco, Epic, Syco, and Sony so that they could use their name associated with the music for the album, the tour, etc. Let’s imagine 27%, to stay on topic.

Since Camila wasn’t part of the partnership, I’m gonna do all calculations in division between her and LAND:

[1,000,000 (initial advance) - 120,000 (living expenses)] = 880,000 (recording costs, ‘Work from Home’ video, marketing and promotion) + 300,000 (‘All in My Head (Flex)’, ‘That’s My Girl’, and ‘Write on Me’ videos) + 800,000 (tour support) = 1,980,000. 1,980,000÷5= 396,000 ©, 396,000x4= 1,584,000 (LAND).

2,311,088 (artist royalties earned) - 87% [3% (to give to producers) + 20% (to give to management managers) + 5% (to give to business managers) + 5% (to give to lawyers) + 20% (packaging costs) + 10% (breakage costs) + 10% (free goods) + 14% (collected by SoundExchange)] = 300,441. 300,441÷5= 60,088 ©, 60,088x4= 240,352 (LAND).

60,088-396,000= -335,912 ©. 240,352-1,584,000= -1,343,648 (LAND).

From LAND’s debt figure, let’s subtract 27% of the earnings occurred thanks to the commissions received from the brand licenses. 1,343,648-27%= 980,863.

Thanks to these calculations, we were able to see that Camila had a debt of $335,912 with the labels, and LAND of 980,863, (980,863÷4=) $245,216 each.

Now, the real box-offices earnings data for the tour are $5,100,000 for 31 concerts. The concerts of that tour, and therefore of 2016 with still Camila, were 58. Including those 27 non-calculated concerts, let’s imagine that the total profit was $5,110,000. Let’s also imagine the merchandising gain was $890,000. $5,110,000, minus, let’s still imagine the 80% profit on the sale of a ticket price, is equal to (5,110,000-20%=) $4,088,000. 4,088,000÷5= 817,600 ©, 817,600x4= 3,270,400 (LAND).

By subtracting the debts to this new figure, we get: 817,600-335,912= 481,688 ©, 3,270,400-980,863= 2,289,537 (LAND).

60 (synchronization royalties earned) ÷5= 12. 12x4= 48. 481,688+12= 481,700 ©. 2,289,537+48= 2,289,585 (LAND).

120,000 (living expenses) ÷5= 24,000. 24,000x4= 96,000. 481,700+24,000= 505,700 ©. 2,289,585+96,000= 2,385,585 (LAND).

2,385,585+890,000 (merchandising earnings) = 3,275,585 (LAND).

These, are the total earnings of the 7/27 era divided among the girls, taxes to be paid not included. Camila: $505,700. LAND: 3,275,585 (3,275,585÷4=) $818,896 each.

Think about ‘FIFTH HARMONY Rehearses before Winning at RADIO DISNEY MUSIC AWARDS!’ takeover recorded in April 2014: Kevin Maher: “Last one on the floor pays $5!”, Lauren the living meme Jauregui: “NOT MEEEE!!!!”

Think about the ‘Fifth Harmony “We’re not rich!"’ interview with Live! Starring … You! posted on April 14, 2014: Camila: “We’re literally more broke than we were before the competition”, Lauren: “EXCUSE ME!!! I can only afford the bus, taxis are expensive!!”, Normani: “We have like Ritz crackers for dinner”, Camila and Normani: “We’re bankrupt”.

Think about the two leaked audios: Lauren: “They’re making decisions on a regular basis, to fuck us over, to make us literal slaves, like literally slaves, Ally” Ally: “I know, I know, I know” Lauren: “We’re doing fucking labor every day and we see nothing”. – Camila: “Sorry I couldn’t come down today. They were actually working us to the fucking bone. We did like, literally five songs”.

Does it all make a little more sense now?

Aaand here we are. I hope you enjoyed it and that this too was worth the long ass reading. I’d like to thank Mari as usual for giving me the opportunity to post on her blog. Thanks, buddy, I really appreciate that 🤗😊

I ❤️ u, guys. Please stay safe. Stay patient. Stay strong. And stay woke, especially for what’s coming in these months. Always with love, F.

__ 💖

#submission #f anon #long ass post #how the music world works

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vagrantblvrd · 3 years

Text

Okay, so I can’t stop thinking about the AU where Jaskier somehow ends up working in a Geek Squad-esque department and has to deal with these witchers who bring in mangled/otherwise destroyed phones and the whatnot AU?

Like, the witchers aren’t completely technologically impaired right because the thing about living through who knows how many innovations and whatnot over the years but they really don’t make stuff the way they used to.

(Jaskier maybe sit through a semi-rant on the subject a time or two while processing whatnot for the witchers who have brought him yet another mangled bit of tech orth a fair bit of money and did he know they used to make them of sturdier stuff???)

Anyway.

Geralt is Geralt, all hm’s and hm’s and usually :( although there have been moments of >:( and an especially rare :| which is the closest to the teeny tiny smile Jaskier gets on a good day or when he says something that amuses Geralt enough to visibly show it. (An actual :) is something to be treasured for days afterward and gets Jaskier gentle ribbing from his co-workers because his relationship with the witchers and Geralt in particular is high entertainment for them, but yes.)

Lambert is a delightful asshole who came in all >:(((((((((( after Geralt mentioned there was a new face in the Geek Squad-esque group, one who got him a new phone in spite of the most recently mangled one being out of warranty and suchlike. Didn’t even ask why it smelled of swamp water and may or may not have had bits of swamp...gunk in its insides and anyway.

Jaskier clearly made an impression on Geralt and he’s like but why, though, and comes in intending to be That Customer - and indeed is through the entire ordeal.

Makes Jaskier go over the fine print in the warranty and whatnot when he brings in some horribly mangled bit of shiny tech - a tablet or some such that clearly cannot be saved and is just barely under warranty. A day later and he’d be out of luck, right?

And while it’s covered by the warranty it’s also just old enough the store doesn’t carry it anymore - been discontinued or whatever - which should be fine, right? Jaskier can set Lambert up with the newest model or other equivalent and everything should be fine, but no, no.

Lambert gets this glint in his eye and is like, oh, I’m not going to make things that easy for you, buddy, and goes off on this...whatever about how he liked the version he had - doesn’t want or need the added features on the new one even though they actually are pretty nice, just because he can.

And of course he came in on one of the days Jaskier’s usual supervisor is off and the one who’s had it out for Jaskier since day one is working. Positive Jaskier has done nothing to deserve being moved from overnight stocker to Geek Squad-esque team member and looking for the smallest reason to get him fired. (Or at least kicked back to overnight stocker and then fired for some other reason no one can call them on.)

This supervisor who is hovering, just waiting for Jaskier’s Retail Voice and whatnot to slip so they can pounce and Lambert might not know the details about it all, but it’s pretty damn obvious the supervisor doesn’t like Jaskier.

So he’s like, “Okay, but...” whenever Jaskier brings up a new avenue of convincing the asshole to just say he’ll take the new tablet and gtfo already, pls you asshole, pleasant smile on his face and gritting his teeth the whole time.

Just as the supervisor has had enough of watching Jaskier dealing with this stubborn customer and clearly failing to meet their needs, Lambert is like “Well, I really did like my old tablet, but I suppose this one you’ve been trying to sell me on for nearly half an hour will be adequate, probably,” like Jaskier’s got him at gunpoint or something.

Jaskier is like oh, excellent, sir, what a wonderful choice sir, you are totally my favorite customer sir!!!! :DDDDDDDDDDDDDDDDDDD while also being like >:(((((((((((((((((( to Lamert’s clear amusement and whatnot.

After the deal is done and the bastard’s on his way out, Jaskier is like !!! when he sees Lambert stop in front of the assole!supervisor sure he’s going to complain about Jaskier. To his surprise though, Lambert’s just, all “Oh, he was so helpful! Answered all my questions!” and so on and both Jaskier and the asshole!supervisor are taken aback because that was not what they were expecting?

And then Lambert’s like “I only want to deal with him when I come in here,” to which Jaskier is ah, okay because he gets Lambert’s game now, and the supervisor is just okay, well, I have no control over that unless you come in on days he’s working, but you can bet I’mm make sure it happens if you do, haha.

Which more or less seals Jaskier’s fate on that angle, and absolutely what Lambert intended, and anyway, asshole.

Later on, after they’ve had enough such encounters that Lambert isn’t suspicious of this oddly helpful person at the store where they buy most of their consumer electronics he’s like, >:DDDDDDDDDDDDDD when he comes in nd Jaskier’s like >:(((((((((((((((((((( if you really wanted to help me out here with the asshole!supervisor you’d buy an extended warranty or whatever and Lambert rolls his eyes and scoffs because those are scams and he’s not an idiot, and anyway, he knows Jaskier doesn’ really want to shank him out back behind the store with a rusty knife the way he threatened one time because Lambert is a delight, okay, an utter delight.

Jaskier side-eyes him so hard for that and is like, oh????? So then Lambert won’t mind meeting him out back on his break? Asking for a friend, you know, no other reason. Strangely, Lambert does not.

(Mostly because of that time Geralt fondly told the others about Jaskier shanking a monster out back by the store’s loading dock when Geralt was a little bit bleeding out and in a bad spot and anyway, yeah, no, thanks, Lambert wasn’t born yesterday okay.)

But you know who is an actual delight that Jaskier loves to see come into the store?

Aside from Geralt???

Eskel.

The man is sweet and polite and holds actual conversations (not a slight against Geralt by any means, it’s just. Sometimes it’s nice to talk to someone at work who isn’t a coworker or a horrible customer and so on) and otherwise doesn’t give Jaskier headaches.

(Though there was the one night after closing and rare time when the store would be clsoed the next day for a holiday or whatever so no night crew coming in. Jaskier was trying to get his car to start when Eskel showed up all bloody and half-dead and Jaskier was closest. Also his phone was broken and no way to contact Geralt or anyone else and how was Jaskier at first aid, asking for a friend and all.)

Anyway.

Jaskier’s favorite encounter with Eskel at work is when he calls Jaskier asking if he can help with a tech issue. Mangled laptop and files he wants to get off the harddrive you know, but ~sensitive file that have to do with the witchers and their work.

They all pretend Jaskier knows absolutely nothing about any of it, even though he’s patched all of them up at some point or they’ve saved his life from some monster or other and there really shouldn’t be any pretense about it all?

AND YET.

It’s one of those days where work is slow and the other Geek Squad-esque people are out on house calls and won’t be back for a few hours or called out sick or whatever.

And this, okay, this is something Jaskier convinced one of them to teach him or he taught himself through Google and YouTube and anyway, he can do the file transfer magic stuff for Eskel, no problem.

Tells him as such and to come by before anyone gets back from the calls so he can handle it himself without anyone looking on and all, so he does, right?

Jaskier lets Eskel in the back room with him while he works, and they have a nice little chat and catch up on what’s new in their lives and all that.

Jaskier is like oh, ew, gross because some of the files he salvages for Eskel are photo documentations of past hunts - for science!!1! - but also ooh, what was that hunt like???

(Accidentally clicks on some or some other reason for him seeing what the files are or just file names and anyway, shhhh, let me have this.)

Because curiosity and also songs and Geralt enjoys being difficult on purpose and Jaskier’s never sure how much Lambert tells him is complete bullshit, and anyway. Eskel’s the nice one. Usually.

Also, though, also.

There are so many photos of Geralt and Lambert, Vesemir and Ciri and certain sorceresses and suchlike, and it’s adorable and sweet and wholly expected?

BUT.

To Jaskier’s forever joy and delight there are at least two entire album’s worth of freaking goat pictures.

(Well, okay, goat and horse and whatever other animals these withcers have in their lives and so on.)

It’s adorable as hell and Jaskier makes these little squeaky noises of pure awww at the sight of them, okay, because Lil Bleater and whatever little terrors Eskel has known and clearly adores.

He’s like staring straight ahead and all everything’s fine and normal and whatnot while Jaskier is like omg and she’s so cute and omg Eskel, omg.)

Withcers may not be able to blush or whatever, but you can sure as hell bet he would have been blushing up a damned storm if he could and Jaskier also knows that and is just.

Charmed, okay, he is utterly charmed by this big soft dork and swears he won’t tell anyone even though the people who matter obviously know as well, and anyway, anyway, he gets this soft little smile for it and his heart is like oh, oh no, because Jaskier’s kind of gone on these idiot witchers okay.

(After the discovery of the goat pictures Eskel starts sending new ones to Jaskier who always gets that look people get when presented with adorable pictures of animals and this warm squishy feeling because oh, oh no, indeed and anyway, yes, because idk what pairings/ships i even want this to be anymore but just soft feelings all over the place even with Lambert, the bastard. XD)

#witcher nonsense #technically not a fic #vagrant fic #jaskier's adventures in retail au #long post #¯\_(ツ)_/¯#the witcher #pairings? ships? idk anymore friends pick your own i guess???#geralt x jaskier #eskel x jaskier #mayyybe lambert x jaskier #all of the above???#idk anymore #all jaskier knows is everyone thinks he's the wither whisperer #and he's like lolol omg no #they're all assholes #of varying degrees on different days #eskel's the least assholish one #usually #and lambert's an asshole all day every day #but yeah no #he's fully lost control of his life #and they're to blame for it #he has no idea what to expect when vesesmir comes in #but all he does is take one look at this poor bastard who has to deal with his idiot kids #and is like #would you like to know how to keep them from running roughshod over you?#to which jaskier is like dear god yes #so jaskier has running appointment for brunch with vesemir and other assorted asshole wranglers every weekend #it's lovely

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witchygagirlwrites · 4 years

Text

New Start

Request by @lifesaclimb-buttheviewisgreat (TRIGGER WARNING FOR MENTION OF DOMESTIC ABUSE)

You took a deep breath before walking up the stairs leading into the twenty first precinct. This was a new start not only for you but for your son Lucas as well.

When you walked through the door sergeant Platt glanced up but when she was about to look away she did a quick double take "Y/N?" She was around the desk and pulling you into a hug. You felt a smile slip onto your face at seeing such a familiar and welcoming face first thing.

"Hey Trudy. How have you and Mouch been?" You asked once she pulled away. She stared at you for a moment before smiling herself "We're good. How have you been? I know you went to stay with your aunt in Rockford for a while" you nodded "Yeah but you know Chicago's home. She got a chance to move back here and since she works from home it's perfect to be able to leave Lucas with someone I trust. When I started sniffing around about transferring back Al gave me a call saying that Voight needed a slot filled in intelligence so here I am"

"Well you know if you need anything me and Randy are always here to help. You're with family here and you know we'll have your back" you knew that. Hell you wouldn't have been alive today had it not been for the crew at firehouse 51. "Are my prints already in to get upstairs or do you need to walk me up?" You asked motioning up the stairs. "They're in but if you don't mind I'd like to walk you up and maybe see some new pictures of Lucas since I haven't seen him in a while"

You handed your phone over opened up to the most recent album of Lucas. Trudy followed you up the stairs commenting on every photo along the way. Once the two of you made it up to the bullpen she handed your phone back right before everyone turned to look at you. Luckily you knew most everyone you'd be working alongside but as far as you knew only Trudy, Al and Hank knew the real reason as to why you'd up and left the city.

Jay and Adam were the first two to your side welcoming you back and to the unit. Then it was Kim and Kevin. Hailey Upton Jay's new partner introduced herself with a smile before Al pulled you into a hug "Welcome home kid" "Where's Hank and Detective Dawson?" You asked about the time Hank's voice answered from behind you "Right here"

You turned to see him and Antonio walking up the stairs. You smiled "Well look here my first official day and already beating the boss to work" Antonio cracked a smile at your words. Very few people got away with teasing Hank Voight. He shook his head "Keep it up and you'll already be my favorite" then he motioned to Antonio "You know Antonio don't you?" You nodded "We've worked together in passing when I was on patrol out this precinct"

"Well you'll be working together more than in passing now. You'll be partnered with him" you held your hand out and when Antonio shook it he said "Look forward to working with you"

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

You fit in seamlessly with the unit. It came from years of knowing most of them and from the trust that you had for Al and Hank.

The biggest surprise was just how smoothly you and Antonio worked together. Like you'd told Hank when you were assigned to the twenty first as a patrolman you'd worked with all of intelligence in passing but working side by side with Antonio you got to know him a lot better. The two of you had quickly become good friends.

You were currently sitting next to Jay on top of Hailey's desk while Hank did a run down of the perp all of you were currently after. "Y/N you and Dawson will be undercover to do a gun buy. Far as he knows Antonio is a big player in the mexican cartel and you're his girl" you leaned around Jay and winked at Antonio "Why can't I be the player and you be the arm candy?" "How's your spanish partner?" He asked with a smirk.

You rolled your eyes and said "Sé lo suficiente como para no atrapar una bala" Hailey covered her mouth with her hand and a grin slipped onto Jay and Adam's faces. "Let's try to do more besides not catching a bullet though?" Antonio suggested so you shrugged "Fine ruin all my fun. Just saying you would've looked better in the outfit"

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

A few hours later you were standing in a warehouse waiting for the crime scene techs to roll on scene.

"Good job Y/N" Antonio said with a smile offering you your jacket from his car considering the outfit you'd had to wear to be convincing as a cartel members girlfriend wouldn't be your chosen style. "Thanks Toni. Still think you'd look better in this outfit" he tilted his head to the side looking over you and you felt your cheeks try to warm but pushed it down by laughing when he said "Don't think I got the legs for that"

Your phone started vibrating in the jacket pocket so you pulled it out to see it was your aunt. "I gotta take this" you told Antonio and walked outside nodding to a few officers you knew along the way.

"Is everything ok?" You asked as soon as you answered and heard your aunt let out a sigh "Yeah baby everything's fine. Lucas just refuses to go to sleep without hearing your voice" you smiled feeling the knot in your stomach release "Let me talk to him" you heard the phone shuffle a bit before Lucas said "Mommy?" "Hey little man. Aunt Ann said you wanted to talk to me. I'll be home in a couple hours and I promise I'll be there for breakfast ok?" "Ok. Love you" "Love you more" you heard him hand the phone back to Ann then run off. She laughed at something he did before saying "He just wanted to check in. I'll see you when you get home" "See you then" you said and hung up.

"Lucas checking in?" Antonio asked from behind you. You turned with a smile "Glad he waited so long to call. Ann would've freaked if I hadn't answered. I need to get her Trudy's new number so if I'm out and can't answer" "I feel like there's something all of us besides Trudy, Hank and Al have missed" you ducked your head to not meet his gaze. Something about Antonio had put you at ease even back when you were in uniform going through hell at home. Now you were so grateful to not only him but all the guys in the unit for their nature.

"Maybe I'll end up telling you Dawson" he watched you for a second then nodding scratching at the bit of scruff on his chin from missing a shave "I've got Diego and Eva this weekend. Was thinking of going to the zoo. If you, Lucas and Ann want to come we'd be glad for the company" you bit your lip considering his offer then nodded "Sounds good. Forewarning Lucas will probably not to leave the tigers" Antonio grinned "That was Diego's favorite when he was that age too"

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

You were walking a bit behind Ann and the kids. She was in heaven pushing Lucas in his stroller and chatting with Eva and Diego. She always loved kids more than having to deal with adults.

"Having fun partner?" Antonio asked and you heard Lucas giggle when Diego handed him a stuffed tiger from the gift shop "Very much" you answered with a smile glancing at Antonio then took a deep breath "You've never asked about his dad" he stopped walking for a second and turned to look at you "Didn't figure it was my business. You'll tell me if you want me to know"

Ann looked back to see where you were and smiled when she saw you talking to Antonio "Y/N We're gonna head to the cafe and go ahead and grab a table" you nodded "We'll catch up" Eva took over Lucas' stroller and you watched them walk off then turned back to Antonio "Do you want to know?" You asked and he ran a hand across the back of his neck "I wanna know why you flinch at times if one of us guys goes to high five you yet you have no problem taking down a suspect heads taller than you. I wanna know why you hate when anyone close to you yells. Strangers I've noticed doesn't bother you but when Hank yelled last week I saw him look straight at you afterwards then he apologized later"

"My ex. Lucas' father was abusive. It started off verbal and emotional abuse. That turned physical sometime around my sixth month. When I was eight and a half months pregnant he hit me hard enough I blacked out. When I woke up the house was on fire and I was trapped. Had it not been for Kelly Severide and Joe Cruz me nor Lucas would be standing here today"

You hadn't realized you were crying until Antonio tentatively pulled you into his arms. When he felt you relax against his chest he started to gently rub your back. "Y/N You are such an amazing woman. You're one of the best cops I know and you're a fricking super mom to that little boy. He deserves to burn in hell for ever laying a hand on you" you laughed despite the tears in your eyes "He got life plus two. Not to mention Hank and Al knows some of the fellas he's in with" "Good" Antonio said then smiled down at you "Let's go find Ann and the kids cause Eva has my debit card and they very well might just leave us here"

You laughed and pulled away from him "Well is now a bad time to mention Ann has the keys to my car?"

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

After that day your relationship with Antonio started to shift. You worked beautifully as partners still but there was something else there brewing under the surface. Maybe it was the fact that Lucas started wanting to talk to Antonio as well when he'd call before bed when you were working later. Or maybe it was how Eva and Diego started wanting to stay with their dad more and more half of the time ending up staying at your place with Ann and Lucas after Antonio cleared it with Laura once with a reply from her of "I don't care. If she's your partner her aunt must be ok"

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

You were sitting cross legged on top of Antonio's desk working through the stack of files you were digging through. He'd went with Adam to meet a C.I. so you were doing the paper trail part. "When are you gonna admit you have a thing for him?" Hailey whispered leaning over you to grab a few more files "When you admit you have a thing for Jay" you responded laughing when she blushed darker red than your shirt and scurried back to her desk.

Did you have some confusing feelings for Antonio? Maybe. It just seemed like at every turn he was there to support any move you made.

When you chose to finally tell the rest of the unit why you'd left Chicago and what the scars on your left shoulder was from he'd stood next to you. When Lucas got sick a few weeks after that he'd come to med and stayed with you until Lucas was released then went to pick up his medicine so you could take him straight home. When Eva got her heart broke because her boyfriend broke up with her Antonio had called you at her request and didn't seem the least bit put off by her wanting you to comfort her.

Somewhere along the line you'd crossed a line and didn't have any clue what to do about.

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

Another week passed and your thoughts hadn't changed a lot. In fact the feelings for Antonio had seemed to grow deeper. You just had no clue how he felt.

You were sitting on the side of Lucas' bed next to him reading the book he'd chosen to him. "Mommy?" He asked and you smiled "Yeah baby?" "Do you like Toni?" You stared open mouthed at your three year old. "How do you mean baby? I mean he's my friend and my partner" "No I mean can Toni be my daddy?" You were speechless for a few seconds then finally managed to say "Lucas baby that's a loaded question little man" "I like Toni" he said with a yawn then scooted further down in his bed and you knew that meant he'd be out soon.

You turned off his bedroom light then walked in the living room where Ann was watching a movie. She glanced up when you walked in then paused the movie "Y/N? You're pale sweetheart. Come sit down"

You sat heavily next to her and was quiet for several long seconds until she finally said "Dammit tell me what's wrong?" You repeated what Lucas said and she cracked up laughing "And that surprises you? For months now every weekend and half the weekdays Eva and Diego end up staying here. They're spending so much time with Lucas Eva's phone background is a selfie with her and both boys. I have seen you come back. My niece the beautiful, strong woman who's went through hell is finally smiling again, you sleep most nights, you don't flinch when you hear a firetruck. You're healing and I think some of that is the very loud fact that you're in love with Antonio and him with you even if you haven't admitted it to each other or yourselves"

You let her words sink in and felt the truth of them like a weight being pulled off your shoulders "What the hell am I supposed to do?" She shook her head with another laugh "If what Eva says is true he'll tell you eventually how he feels because apparently he talks about you to the kids like a lot"

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

You tried not to let Ann's words get to you too much. You still had to keep your head on straight. A couple more weeks passed and everything changed.

The raid was supposed to be simple enough but somehow you and Kevin got pinned down in the back of a building with bullets raining down on you.

By some miracle the situation was able to be contained with no one ending up dead. You were standing next to Kevin recounting what had went down for Hank when you spotted Antonio heading your way. Hank went to talk to one of the scene techs and Kevin walked off to talk to Al so you turned to face Antonio who pulled you into a crushing hug.

"Toni you good?" You asked against his chest and he nodded "Yeah I am now" you pulled back to look at him and saw the worry in his eyes and realized that was for you. "I'm ok partner" you assured him and he nodded "I'm glad. I don't know what I would've done if I'd lost you" "Antonio?" You said it like a question but Hank was calling both of you so he said "Can we talk after shift?" You nodded then followed him over to Hank.

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

When your shift ended you walked downstairs and was leaning against your car when Antonio made it to the parking lot. "It's after shift" you said as soon as you saw him and he shook his head "Not here. Let's go grab a coffee. I already told Ann" you rolled your eyes at him and your aunt teaming up on you. "Fine but we gotta stop by the bakery and get Lucas something plus you can grab some muffins since Eva and Diego will be at your place tomorrow" He smiled and said "Sounds good"

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

You sat across from Antonio watching as he stirred his coffee. The two of you were sitting in a corner booth of your favorite coffee shop and he'd done everything but talk. When he reached to stir his coffee again you laid your hand over his to stop any movement. His eyes went from your hand up to your face and he smiled "I said we'd talk didn't I?" "Yes you did" you replied.

He let out a breath then dove right in "Y/N since you became my partner. Everything is better. I look forward to seeing you every day. I meant it when I said you're an amazing woman. You and Lucas mean the world to me. I couldn't imagine my life without you and him in it. Hell i think Eva and Diego would disown me for you and him at this point. Today? You and Kev getting caught like that and me not being able to get to you? It clarified something I already knew"

"And that would be?" You asked your heart beating in your throat at this point. You saw a blush work it's way up his face to his ears before he said "I think I'm in love with you" you were stunned silent. Did he really mean that?

He mistook your silence for something else and went to stand up "It doesn't have to change our friendship I'll still be there for you and Lucas and I hope you'll be there for Diego and Eva especially since I just got full custody but I just needed to tell you" you snapped out of it fast enough to grab his hand and pull him back to you "Antonio wait!" He met your eyes and must have liked what he saw there because a smile slipped onto his face "I love you too. Lucas loves you too and I will always be there for Diego and Eva"

"Does that mean I can finally kiss you?" He asked his eyes flicking down to your lips then back up. You didn't try to hide your smile when you said "I'd be offended if you didn't"

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

Three years passed and you were sitting in front of the fireplace on Christmas morning watching the kids open presents. Diego was showing Lucas how to work his video games while Eva snapped photos of her brothers on her new phone.

"Is that all?" Antonio asked from his position next to the tree and you cut your eyes at Eva "Want to grab that last one for your dad?" She nodded and grabbed Lucas' hand "C'mon Luca let's go get daddy his present" Antonio cut his eyes at you when all three kids disappeared "What'd you do?" You grinned "you'll see"

They came back with Eva carrying the present but she handed it to Lucas to give Antonio then sat next to you leaning her head over on her shoulder. Antonio looked a bit suspicious until he tore open the package and his eyes teared up. Inside was the paperwork you'd gotten a week before where Lucas' adoption had become final. "Lucas Dawson" he said quietly then laid it to the side "C'mere buddy" and Lucas jumped into his arms with a laugh "You're officially my daddy!"

You felt Diego and Eva both hug you "And we love you like a mom Y/N" you smiled at your little family then said "I couldn't love any of you more than I already do"

#antonio dawson x you #antonio dawson x reader #antonio dawsom fanfic #chicago pd fanfiction #chicago pd fic #chicago pd one shot

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wqdwaefes · 3 years

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theurbansquared · 3 years

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Guide To Avoiding A Loser Brokerage

by James Hill | theurbansquared

Brokers can be bastards and some even get better at it while other brokers are legitimate life-changing business Sherpas

A broker is supposed to guide you through a career in real estate much like a coach or pimp - offering protection and how to understand a complicated system better and direct it to revenue without getting your neck broke while playing the game. I created and ran the most well-reviewed, largest full-service brokerage in the fastest-growing city in America. This gave me access to nearly ever broker and their broker's pay structure and innovations. I also got the agent's version of my same broker buddies brokerages when they eventually joined my brokerage; hovering anywhere from 20–60 agents. Trending insider chatter has blame going to real estate brokers of decades past (and current) and how they’ve managed their agents - - letting unsupervised agents with no experience run wild on the streets practicing on the public wearing out Realtor love and making a need for all the Mountain Dew-made Zillow-y options that currently exist.

Brokers are out of touch more than ever with today’s current media load, having to understand and use social media platforms for their advertising (since the private Town & Country affair that real estate once was is forever over and the landscape is a bit more like a half Juggalo, half programmer flea market).

Let’s dive into some situations and tenets that most agents don’t consider when choosing a brokerage.

Sales Volume

This is a bit of negotiating psychology and due diligence. Simply ask how much sales they (the brokerage) did last year and how much they’re currently at. If they don’t know these numbers they’re goons. If they don’t give it, you guessed it - they’re hiding something; their lack of revenue. I’ve hired and fired hundreds of agents and in interviews so few ask this question but it’s one of the most important questions you can ask as an agent and you need the information. An agent that doesn’t ask this has already given a tell that they’re not a top producer since they’re not interested in the production capacity of the team they may join. No bueno. Creep the brokerage as well obvi -- reviews, FB & IG engagement and current running ads, and make sure the company Christmas Party isn’t catered by Chic-fil-a at a Burnet Road dive bar.

Office

40% of your learning and 350% of your work will be done at the office. Those numbers will make sense 90% of the time after a few years in real estate. The rest should be on the streets - your car, properties, driving 75 mph talking and sending out docs, gorging on breath mints. Office, home, tiny homes, motorhomes have all blended into one larger conversation where work/live ethos are all in re-definition.

But, when you do need a more savvy moment in any market when people talk about borrowing or selling something that’s over $100K they don’t want to hear some bullshit too loud pedantic conversation seated right next to them at Starbucks or the local kooky coffee shop. In real estate Murphy’s Law is always in effect. The super important listing sign off that has to go well and they want to hear you pitch again before deciding? There will be someone (at this super ‘caj’ coffee house meeting) there projectile vomiting, or throwing cats, or something else tiresome or bad that takes more calls.

Speech and body language are massive parts of sales so when the entire set is thrown because a barista is running through a whole Sublime album. You want the most inviting cool office you can ever pull off at any given moment in real estate . Was that ever a question? There's a balance -- you can't afford that year one or three, but it’s called real estate for a reason. Sexy, exciting buildings is what the brochure said when I joined. Also, it’s about style not size.

If you haven’t lost business to coffee house back pressure you really haven’t failed at agency properly.

Social IQ

Social reach is the only conversation now. Many brokerages won’t make it as the lead generating aspects of the industry aren't powered by a private MLS anyone and the publicly-hated ‘Realtor’ designation have both brokers and agents guessing about tomorrow. Calendars, best practices and free shitty tips & templates are the du jour of the day for anyone trying to get an agent's eyes. You can Google and get all the ‘basic’ social media dance steps, but with everyone at the same happy hunting spot, you’re being covered up, which leaves all your new artistic efforts fruitless and also squandering winning time.

Traffic, leads and engagement are all separate areas that have to be fulfilled properly and even this is in flux with historic corporations and current start ups all on the same advertising playing field. Social reach and engagement is about going to the consumer direct and becoming their friend with soft bribes -- free food, gifts, prizes (trips, events tickets) or industry work tools. The great news is, real estate has always been mostly consumer direct - start up a convoy at the grocery store (bar, church, meetup) and you’re in the car that weekend looking for houses with a new client. While you, your brokerage and the world are figuring out their exact social media mix, you need to make sure a brokerage isn’t lost on social media since many won’t be able to stay in business in the next few short years. Your brokerage needs to have a plan and and at best some presence on social media. Plus, they should be running low-cost performative marketing ad campaigns to get a feel for what and if set user groups are responding to ads. Anyone can post on IG but people engage on IG when they become inspired. A brokerage should have some sort of inspiration and relationship tied in with the local allure of their city -- or heading that direction.

Mentoring

Much like a neurotic buyer chasing an interest rate for their home mortgage (and then never buying a house) agents too focused on commission may miss the essential career need for mentoring -- for their clients and career. I had a 5 deal minimum for my new agents before they were ever unsupervised and received more commission. I've had new agents with celeb clients in hand and celeb agents with no clients in hand. No one wants to do business with someone with absolutely has no, experience but they do it because they like you as a friend or fam. Your mentor is the person riding shotgun with you at the beginning of your career. On many levels you want to be this person since they embody the position and role. You're literally and figuratively are borrowing experience from them and they deserve to be paid for it. You always have to strengthen your brand outside of your brokerage but if you don’t have any experience your brand doesn’t have ‘strength’ you simply have a logo and a drag & drop website where you're possibly talking about yourself and love of unicorns or football shit but the big boat deals you dream about in bed aren’t gotten this way. Remember, no unicorn could ever throw a football good without a lot of practice and a good mentor.

Support

Support in a brokerage is really communication and solutions for small problems, and systems for managing bigger ones with people. Most of the annoying things in real estate happen outside of the deal - contracts, calls, emails, docs, signatures, more docs. You typically want a super admin, broker, or agent manager that you can call and they pick up the phone. It’s pretty simple. With a mentor, admin, or broker you’re going to have a n 8:30 PM question or deal that’s going down. You’ll need printer help. Real estate always happens now (this was one of the main mantras in my office). Printing, prequal, weekend support and constant post dinner shenanigans.

Training

Meet Frank Miller, David Mamet, the Sex Pistols, Tony Robbins, Wayne Dyer, Hendrix, Tom Hopkins, The World’s Greatest Detective and Conan The Barbarian. We had a lot of different inspirations for the style and ethos of our urban brokerage. The World’s Greatest Detective is Batman. It was a moniker that became popular in the seventies. We used this example about how important due diligence and proper Fact Finding techniques are for serving and closing deals for clients. (It’s almost essential to be inquisitive in real estate esp about property/development to have success). Training is largely your sales meeting(s). Although I don’t come from a car background I’ve mentored many car guys transferring to real estate (they typically are out of the industry within 2 years and are there only for boom markets). Car guys have meetings every morning 6 days a week and they’re not at 9 or 10 am. They’re already working.

free module: The Burger King Phenomena: Why Agents Do Less Working For Themselves Than If They Were Working At Burger King

Many brokerages have no training/meeting schedule (monthly doesn’t count -- that’s a meet and greet company pump and catch up meeting). If a brokerage doesn’t have training on a schedule then there is no training. You’ll possibly be thrown a 3-ring binder, or given some PDF’s, or links to old bizarre training videos or a soup sandwich of all three and sometimes even a bill for the training. An agent’s training/meetings and their attendance to them are the difference between an agent making it or not when you’re 24 months or less in the role as an agent especially in the fast turbulent waters of the current 2021 market where brokerage and agent purpose and pay are under attack. From my experience, new agents that hide die.

Media

Having a background as a creative director I’m aware with great detail of agency and brokerage media needs, the cost and time they extract, and the corresponding revenue they’re projected to bring back. Brokerages are looking for their purpose now as simply having a brokerage doesn’t bring in leads like it used to. This is fitting, since the digital dumbass brokers that that didn’t understand the importance of ‘the web’ rickshawed our MLS data and sold the agent/broker centric real estate system for their benefit while current agents are left with an empty greasy enough to-go box to curl up with. Brokerages were never media houses or ad agencies but now that consumer level graphic programs and website builders are ubiquitous and any agent after being licensed for 10 days can drag & drop a website up in 4 hours and make it look like a brokerage that’s been around for years. I know I’m going wide on the subject here but stay with me because this is the crux of where the industry and consumer are renegotiating roles.

A brokerage’s value proposition has changed drastically with the telecommute revolution that was only sped and strengthened by Covid. Also, generational knowledge base gaps in technology are more apparent than ever with technology as younger agents can often be more media savvy than their broker. The market is flooded with self appointed companies or gurus that are taking on the role of the classic ad agency (Mad Men) or media production house. Also beware of real estate coaches with little or no real estate experience offering to guide you in social media. Okay media can’t be used in apex situations (such as the luxury listings you’re after) and doesn’t draw apex listings. Beware of tapioca room temperature tips and general lists from companies that can appear informative but are really boilerplate low grade data to get your attention to ultimately upsell you on a paid service.

As an agent or a brokerage, consumer level graphic and website building programs can be a death ticket to your business as your competitors have the same tools and are cranking out the same type of style of messaging you are now. Now agents, principals, admins and in art class creating flyers. This has been done since the nineties as the valleys of dead agent careers is full of 2-day Microsoft Word (or any of their shitty office offerings) seshes to produce nasty flyers and presentations. These programs are fun and making bad flyers absolutely work related - the kind of work you don’t want’ related to your business because it’s adult crayon coloring. Activity does not equal production. Staying busy doing the wrong things doesn’t make money in real estate. Rather than spending agent winning time staying in the wrong lanes for way too long, get with a team or brokerage that are providing the most exceptional visual media you can find in your market. It used to be cool 2 years ago, now it’s the only thing that matters. Visual content.

free module: Better Agent Media, Less Agent Money (media tips and hacks).

Access

This is access to your broker. Brokers with families are typically less available. Your best bet as an agent is looking for a grinder broker who sleeps on the couch at their office. This person doesn’t have kids to build into so they’ll build into your career and you’ll get the most out of these brokers. Beware of cheesedick, apathetic, rich boy, bored brokers not around and more concerned with projects like a shitty vanity wine brand that their wife’s forced them to launch since she’s not living her best life anymore as an agent.

Style

What kind of style is your brokerage? Is there an opportunity to bring more style sophistication to the market -- standout in a smaller market? Or, are you in an ultra stylish market currently and butt hurt because you already have a little story about how you’re going to keep it real and be a Dockers wearing slob for eternity? The thing about style in agency is you always need to look like you can list a million dollar house. Oh, is it really that simple? Yes it is. You complicated it. Clients always care about their housing a little bit more than they care about your real estate career. They don’t have time to figure out why you’re wearing shoe styles from 7 years ago. Don’t make it hard for people to do business with you. If you’re ugly, even better. It can be a massive advantage. Everyone on the planet loves when someone who doesn’t fall into our general current ‘attractive’ spectrum doesn’t give af, looks great and puts themselves together in a stylish way that the viewer can understand (can I get away with Teen Wolf?). A great side benefit from this step in the right direction is it’s a great way to make someone who is conventionally attractive insecure.

You want to be in the same style as the people in your area but the secret is you need to lead that style pack if you can -- you always lead and dress apex. Years ago this was anecdotal but after over 100K hours in real estate a good suite (tailored) saved my ass and literally got me business. I listed the largest house in east Austin because of a suit (and got a front page story on the newspaper real estate section for free because the owner saw me walking into the next door neighbor’s house).

Offices, dress, logo, email signature are all elements of you and your brokerage’s style. Style in and of itself isn’t enough to be a top producer in real estate. I’ve had stylish and even celebrity agents that didn't do zilch, but style often is a fingerprint to something more.

Picking the right elements for your agent style is an art because you have to offer something from yourself that’s unique enough as well as something familiar (a bridge to your uniqueness). I have a background as a musician and also as a merchant sailor. Fortunately those are easy convo starters. You could be a philatelist and have some challenges, but regardless it absolutely will take a year or three to develop your own angle and style towards the market as you learn it and the agent role more.

Things that look attractive and familiar puts client’s psychologies at ease. So, if skinny jeans are in you better get in them (that’s like five years old now). You’re on stage. You don’t wear what the worker people behind the camera wear. If you want to wear boring shit get on the other side of the camera. If you want less leads saddle up to a forgettable brokerage. People have hard days. They want you to put an effort into your real estate agency role. Currently it’s a fried role so you’re dealing with that too. People love to be smiled at and sold and especially from someone who smells good. It doesn't ever get old. Don’t make them beg for your charm. Be a nice charming person with a shirt that fits good, it’s a powerful combo.

Get My Damn Paper

If you’ve never seen a werewolf in daylight mess with an agent’s commission after the deal’s done and funded. Admin? Who is the damn person who does the admin? (accounts payable is the icey pro word if you like). That person that you contact to get your commission check cut? If that person is a weirdo, or there’s an unfriendly or sketchy quality to the office or admin staff, do not go forward (don’t confuse this with new people or industry jitters). Grab some free coffee, leave the smarm and jet to the next brokerage blind date.

Software

CRM is an annoying conversation. Here’s the things with CRM’s - for all the work CRMs curtail, because of their complexity and existence and the work(time) they take to interact with you need to consider how much work you’re putting into operating the CRM software verses how much time it’s saving. Many times brokerages have expensive yearly subscriptions with per agent fees for their CRM which can make the brokerage have a zealot meth thing for the ‘team’ software and promise you can’t have a career without taking a bump too. To understand CRM better before it was a name, Client Relationship Management is what analog Proximity became. Let me explain - being close to people in Church, bar, school, same building -- all give proximity. This becomes familiarity, then ease, then trust. People do business with people they trust & like. Once people disconnected physically and started using other means more contact attempts have to be made to work for or ‘prove’ worth.

Follow Up is a large component of most CRM’s and there are gobs of money for agents who follow up meticulously. Simply ask the broker what CRM they use and research it. Something to remember - unless you’re extremely busy with your career you don’t need a CRM. You can manage & database your clients & leads ‘by hand’ and strap it to the cloud with G-Suite/Google Sheets.

Brokerage Name

A small but important aside, if a brokerage have named themselves after a precious metal or a gem, or if it says elite in the name then it’s not elite. If it has the words prestige or worldwide or international it may not be any of those either. I know a handful of exceptions to this rule but this is a great dirty primer to use when choosing a brokerage that’s going to propel your career and have shrimp options at the Christmas Party.

#agent #realtor #realestateagent #broker #brokerage #newhomebuyer #coach #businesscoach #entrepreneurs #new agent #zillow

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connerhmuu209 · 3 years

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Manage photos software

Manage photos software for everyone and also program to organize images for organize photos and even find duplicate photos

This computer software is an entire manage photos software suite, though it is just one what places that customer primarily, allowing to highlight your very most creative thoughts in as easy a manner as quite possible. Then again, our application is even uncomplicated to run even if anyone have actually never ever attempted utilizing application to modify this photos prior to. With our application software, people will efficiently change certain elements for example, find duplicate photos. Any of that problems every model digital photographer is usually met found at some part or maybe one more anytime picture shooting outdoor is obtaining the optimal light. Yet another major functionality this is normally added in the unique manage photos software is truly the image album creator which is absolutely simple to take. Anyone might select that within that side effect list of this manage photos software alongside additional choices a load of functions like find duplicate images. Each time you create tasks within manage photos software or even the post processing tool people are normally making use to their photographs. And so the minute they knew professional sort pictures I fell by that concept and guessed I will manage to work on the same. As with any kind totally useful manage photos program may be repaired working with such kinds standard features conveniently. The attribute has been included mainly for experienced freelance photographers and also publishers whose business involves developing and also arranging excellent quality material for their end users.

Besides the considerable image designing and also printing functionalities, their manage photos software provides countless very useful bundle producing usages and also allows for creating of collages via its own school designer. Though prior to people begin with this different opportunities of picture making, they create a quick control on this initial photograph, because the very important thing before the complete creating ceremony is generally the lighting. Undoubtedly many of them, as we started off, people did not actually know much concerning which was normally the thing and then people just tried pictures along with their smartphone and even compact camera and also submitted to the blogs. All of these techniques that make manage photos program stand apart from low quality program for picture generating can easily be find by means of that method's directory sub menu through the main display screen. Along with their manage photos software, extraordinary corrections or even enhancers are actually today simple by having that software program. In my digital photography, they commonly may desaturate our that this blacks anytime shooting in external areas with a lot of greenery comprising the scene just as may be found along with a load of weed, forests, hedges, and more. Unfortunately, this professional status computer handling strategies on offer are actually being the same fit to photograph artists, internet designers, photographers as well as celebration digital photographers.

Information about manage photos software for remove duplicate photos and organize photos with several great gadgets

Utilized by specialists to paint sections within the photos or even to transfer sections within an image out of a single place to another, our amazing function may support you to elevate our picture taking to a further stage. You be busy and create a small image set, handpicked amazing decor to get that good mood as well as go its own process step by step to that appropriate angle. Whenever people provide the people by having that natural images what are primarily faulty, that they will certainly not bring out that wished style, yet that manage photos software effects their goal to guarantee which you obtain superior quality photographs.

Everyone may likewise run their manage photos software to give your photographs a genuine crayon draw visual appeal. There actually should be literally someone else who has certainly brought in the equal gaffe with manage photos program and find out just where you are failing. The method is additionally very valuable to search a photograph mosaic or even an image collection with raising this 3-D style out of that photograph they are making manage photos software for Windows 10 corrections to.

If ever you fail to, soon after simply just press this Reverse key basically right hand area based on your monitor to head back a step or maybe 4. Our manage photos software giving my site visitors really interactive elements which includes photo correction, filters and also cover-ups. Manage photos software can provide much more assistance soon after it occurs the time to sort images a photograph album to illustrate our performance. In case there certainly are large parts at your photograph what they need to delete, anyone can easily take find duplicate pictures on top inside that menu functions to produce it more efficient.

Close to all is can do if you prefer to find photos along with our manage photos software. This is generally located through the bottom right hand part out of our monitor and it helps us to zoom inside or outside of that zone concerned.

Manage photos software the program to clean duplicate photos with several well-known features

Manage photos software for anyone and also tools to clean duplicate images for manage photos and manage duplicate photos

By having this manage photos software they can finish this sort pictures or even remove duplicate pictures simultaneously, and after that receive this last image to your desktop computer. Their manage photos software to get search photos everybody will furthermore select this manage pictures from a basic color scheme or select a coloration out of a dot actually upon display. My simplest usage to detect in case the color is off on a picture is actually to consider a thing what should be literally yellowish. That manage photos software is generally a complete photograph generating suite what is great for skilled image makers and even people what merely intend to organize our pictures seem greater with a little creating.

Assuming that the photo is extremely inclined, well then it looks like the object is heading to occur of the rack. Using it, people can certainly fabricate gift cards, produce a photograph portfolio or even put together a series about thumbnail pictures to get a record.

The minute they select one of the pictures feature like organize images, a new page will certainly appear with a sneak peek like just how this image could look right after handling. Which is actually your previous visualization process coming from the time they transfer your pictures on that personal computer till the moment you think about their picture completed. Pixel compression is actually to lower our picture elements for a picture to manage photos it much easier to keep, which might help make mean people drop brightness in a photo.

#manage photos software #easy manage photos software #manage photos software for windows 10

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sorrellab · 3 years

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Art Analysis Essay

Identifying which printmaking process works for me is pretty hard due to not having much experience in each different process, so I’d have to base this essay and my decision on which technique I’ve enjoyed the most this past year. I evaluated each process and my outcomes, and I feel the best would be Screen-printing. I also, came to this decision due to the speed and efficiency of this process. My art style can be quite graphical, and I feel this process captures that in print form the most, by using digital applications like Adobe Draw initially then exposing them onto a screen to produce a print. Using the specific colours in the initial design or being able to experiment freely without changing the integrity of the initial outcome.

After conducting initial research, I discovered that screen-printing started as early as the 17th Century progressing through the decades ever evolving as the technique, we know it as today. Artists like Andy Warhol, David Hockney and Roy Lichtenstein really giving it the platform of popularity. The process makes up of a exposing a stencil onto a silk screen, then pushing the ink or paint through the screen so it transfers onto the material you’re wanting to print on. The stencil is exposed onto the screen in a similar way to a photograph, using light to burn the image into the reactive emulsion paint which hardens it. Any areas that weren’t covered by the design stencil remain a liquid which can be washed off to reveal the image you’re wanting to print, then allowing the ink to flow the screen to your desired layout or design.

Kate Gibb

Kate Gibbs is artist I’ve researched as part of another project and is printmaking artist from London, England. I loved her work previously, as I find it to be very expressive with her use of colour, lines, shapes and texture. The obvious use of mark making within her work can be visualised in different works. Utilising the chance of happy accidents that can occur during the creative process.

kategibb.co.uk. (n.d.). Kate Gibb. [online] Available at: http://kategibb.co.uk [Accessed 1 Mar. 2021].

My analysis of Kate Gibbs ‘Pleasure Garden’ starts with my initial feelings on the overall, composition, colours, textures and shapes she has used to create this piece. When looking at this design I get cultural references of Japanese printworks though her use on colour and their tonal ranges, after conducting further research I noticed that this design in particular references Kyoto, Japan for a magazine publication. This explains why she worked in this way to portray a more abstract outcome in relation to her way of working. As similar to her other prints works, I’ve researched Kate Gibb prefers the use simple shapes, colours and lines combined with layering. These marks on top of one another make her prints more cohesive to me, I think she does this, so her style is fluent and easily recognizable predominately, in her album cover works. My eyes are more drawn to the circle which looks like sun on the bottom layer, then flow around the composition following the brush strokes down the page into a pool of different mark marking processes. I find this design very relaxing compared to her other designs, the colours are more complementary of each other already mentioning their tones but, also different shades blue ranging to green and aqua. I think she might have done this to relate back to Japanese culture, as I also find the ‘The Great Wave off Kanagawa’ by Japanese artist Hokusai, very harmonious and calming. I like her use on paintbrush strokes to add texture especially in the larger areas where you can see the background peaking through. The little areas of detail filling negative spaces with repeated patterns and the shadowing of the background adds dimension also, contributing to the flow of direction when looking at the design. I like that there are some elements more subtle than others I think she would have done this to keep eyes on the piece for longer a the more I look and analyse different shapes and lines appear.

Google Arts & Culture. (n.d.). The Great Wave off the Coast of Kanagawa - Katsushika Hokusai. [online] Available at: https://artsandculture.google.com/asset/the-great-wave-off-the-coast-of-kanagawa/fAFp7yddSAtcTQ?hl=en-GB [Accessed 10 Mar. 2021].

Laurie Hastings

Laurie Hastings is a printmaking artist I’ve discovered recently on Instagram; her simple illustrative style of screen printing really caught my eye. Her background as an illustrator shows through into her silk-screen works, with the cartoon influenced figures and use of block colours. She is a commission-based artist with displaying works on her online portfolio but, also international exhibits.

Laurie Hastings. (n.d.). Portfolio | LAURIE HASTINGS Illustrator and Printmaker. [online] Available at: https://www.lauriehastings.com/ [Accessed 1 Mar. 2021].

My analysis of Laurie Hastings ‘The Adventurers - Campfire’ starts with my initial feelings on the overall, composition, block colours and line work she has used to create this piece. My initial reaction was to the process of how this piece was made, as at an initial glance I thought it was a Lino Print, very similar to another artist I’ve researched called Michelle Hughes in terms of line work and block colours. I feel the simplification of only two blocked colours, one darker, one lighter which have no tonal range, shadows or highlights to them, then to be applied in layers create this effect. I get a real homely, warming feel from this, warmth relating the fire and her use of organic lines and shapes in waves. I can feel movement within the design to how it has been illustrated this way with fewer straight lines and the trees being more suggestive than realistic shapes. The figure in the print is of a woman looking out at the sky looking comfortable in her overall position. My own relation to camping and a sitting in front of a fire is that I’ve always found it very peaceful which also, strengthens the warmth intuition as I have a personal relation to it. The ground has also, been flipped in colour to create extra dimension of shape, grounding and stability. Highlighting this area to be different to the sky and other elements of the print. After looking deeper, I discovered this piece being part of a series of 3, with the other designs having similarities within their illustrative forms. Making all 3 designs a cohesive collection together. Looking at the bottom of the print your eyes automatically are drawn upwards due to all the different marks/lines facing vertically then interconnecting with different elements then drawing focus back looking at the print and its entirety.

michellehughesdesign. (n.d.). Yorkshire Dales III, original linocut print. [online] Available at: https://www.michellehughesdesign.com/yorkshire-dales-3-linocut-print?lightbox=dataItem-j97a2han [Accessed 10 Mar. 2021].

‌

Chuck Sperry

Chuck Sperry is another screen-printing artist I’ve come across recently. He’s an American printmaker based in San Francisco also, working from his studio there. He exhibits his work internationally propelling his American rock poster style into fine arts using a silk-screen process. His use of text, patterns and various materials to print on caught my eye as I’d not seen this before.

Chuck Sperry. (n.d.). Original Art Archives. [online] Available at: https://chucksperry.net/category/original-art/.

‌My analysis of Chuck Sperry ‘Vivien 2016’ starts with my initial feelings on the overall, composition, colours, patterns and influences that have gone into creating this print. My eyes are drawn to the initial profile of a woman as the title suggests is Vivien. Vivien reminds my highly of Marvels villain Mystique in the X-men series due to her being topless, the colours used for her hair and body along with the watermarked style texture of the background pattern showing through. I also researched his influences and among them was the era of pop art which I can see this print is heavily inspired by. Roy Lichtenstein portrayed women in many of his designs and the facial features and hair of ‘Vivien’ here compared to his ‘M-Mm Maybe’ print look very similar to me regarding there cartoon comic style. Although I do see the differences, I see I that Roy used dots to add definition in specific areas strengthening comic references whereas Chuck Sperry uses florals it his work. The floral head piece which looks as if it’s glowing from radial illusion created is the most eye-catching part of this design dividing the figure away from the busy background. Highlighting aspects of the background, the style of how the leaves have been drawn remind me of Celtic symbolism, and a traditional illustration of a Scottish thistle, the repeated pattern and the colours used a similar to a tapestry. Chuck Sperry has created a series of these designs uses the description of ‘muses’ and female names to title them, each design has similarities to the hair, florals and beauty creating a series print. Although his more recent work in this style looks less like a comic and more like a realistic portrait of a woman. The title of Muse to me highlights the feeling of confidence, strength and beauty which I feel is portrayed along with sensuality.

Wikimedia.org. (2021). [online] Available at: https://upload.wikimedia.org/wikipedia/en/2/23/M-Maybe.jpg.

All of the prints I’ve chosen have some form of an organic natural feel I find I am most inspired by these elements in terms relating to my own work. Different aspects of each artist drew me in for the analysis of their work. I find Kate Gibbs expressive abstract style very freeing with the use of her bold colours and layering. Whereas both Laurie Hastings and Chuck Sperry although using the same printmaking process have more of a graphical, planned technical feel. While writing up my analysis I wanted to include both styles of working as depending on my mood I like to work either way.

Word Count- 1,532

#Mb_hndcpm1

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mistydacat · 4 years

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Cursed || A Felinette Story || Chapter 1

Who would've thought that a seemingly ordinary Thursday afternoon, a letter would arrive in the mail that would change their life?

Marinette sure didn't.

So she was surprised when her parents called her down from her room, claiming that a letter had arrived in the mail for her.

At first, she was confused. It couldn't be from any of her friends; they could just text her. Who would send her a letter?

It must be something super important. Marinette thought to herself. People were only sent letters these days if it was an invitation to some sort of fancy event. Though, she supposed schools sent out letters sometimes as well.

Marinette tried to rack her brain for anything she could have done that would have been worth sending a letter home for, but came up with nothing. Maybe Lila had come up with another lie to get her into trouble again? However, she hadn't been in school for a while, so that didn't make sense.

But one look at her parents' faces destroyed that theory, much to her relief. They were smiling at her.

So now, she was back to confused. Instead of further dwelling on it and jumping to conclusions, like she usually did, Marinette decided to just ask.

"A letter? Who is it from?"

"Do you know that art school that's not too far from here? Lycée D'Arts en Hausse?" Her mother asked.

"Yeah?" Marinette responded, unsure of where this was going.

Her dad handed her the letter with her name printed on it. A similar envelope lay on the counter, opened. She could just make out her parents' names on it from where she was standing.

She opened up hers and began reading.

Miss Marinette Dupain-Cheng,

We, Lycée D'Arts en Hausse's talent scouts, have found the exceptional work you have done as a designer. We have seen the world-renowned rock star, Jagged Stone's new album cover, and the Pigeon Feather hat you skillfully created for a recent Gabriel fashion show. We have unanimously agreed that your talent is something we would happily accept at this school.

Attached to this letter is a pamphlet that features some of the many things Lycee D'Arts en Hausse offers to its design students.

If you think that this school is fit for you, you can send an email to [email protected] so we can book you an interview and start the school transferring process.

Sincerely,

Lycée D'Arts en Hausse

Marinette jaw dropped.

"No way," she breathed out, looking wide-eyed at her parents.

"It's your choice if you go or not, of course. I know you'll probably miss your friends, but you can always meet up with them on weekends and after school. You could even arrange to spend your lunch hour with them if you'd really like to," her mother said, offering her a comforting smile.

"This could be an excellent opportunity for you to get a head start in the fashion industry." Her father butted in.

Marinette, still in shock, could only nod at her parents. She was still trying to process what was happening.

She weighed the pros and cons. On the plus side, her dad was right, this would be a great opportunity. She could go to class with other young designers like her and have a professional teacher. She would probably learn things that she wouldn't have been able to teach herself!

But, on the downside, she was moving to a new school. At her new school, she could get away from Chloe and Lila, although they don't really bother her as much as they used to. She didn't know anyone there, and, unlike what would happen if she transferred at the beginning of the year, she would be the only new student. People had already established their friend groups. What if no one wanted to talk to her? Or worse, what if there was someone ever more awful than Chloe and Lila? What would she do then?

"Marinette?"

Marinette blinked back into reality, created by her parents' worried faces.

"Sorry, I'm just... taking it all in, I guess."

Their expressions relaxed. "You can take a few days to think it over if you'd like. This is a big decision." Her mother comforted.

"Thanks, Maman. Thanks, Papa." She kissed both her parents' cheeks. "I love you both so much."

"We love you too, sweetie." Her mother smiled.

»»————- ⚜ ————-««

Marinette went up to her room. She felt that she needed to ask Tikki for her opinion, then she would video call Alya and ask for her advice.

"I'm so happy for you, Marinette!" Tikki beamed.

"Do you think I should go?" Marinette asked her.

"It would be a pretty significant change for you, but not necessarily a bad one! Think of all the new experiences you'll go through!" The kwami of creation cheered.

Marinette sighed. "I don't know. I guess I'm just..."

"Nervous?" Tikki finished for her.

She nodded.

"You have to go through changes in your life, Marinette. It's inevitable. But it makes you a stronger person." Tikki assured her.

"You're right." The young designer smiled at her. "I'm still gonna call Alya and ask for her opinion, though."

Tikki nodded. "Go ahead!"

Marinette unlocked her phone and texted Alya.

ThatOneDesigner: Hey, I need to talk to you about this super important thing.

Alya responded quickly.

ThatOneLadyblogger:???

ThatOneLadyblogger: What is it??????

ThatOneDesigner: Can I call you?

ThatOneDesigner: Sure.

Marinette hit the call button and watched as Alya's face filled the screen after she accepted.

"Hey girl, what's up?" Asked Alya.

"So... I don't know how to say this, but..." Marinette started.

"But what?"

"There's this super awesome arts school that liked my work and offered me a spot there in design!" She blurted out quickly.

Alya gasped. "Oh my gosh, Girl! That's so awesome! I'm super excited for you! Did you respond to them yet? Do you know when you're gonna start? I'm soo jealous! Oh my gosh, tell me everything!"

Marinette smiled at her best friend's reaction. How could she ever have thought she would react otherwise?

She quickly filled Alya in on all the details she knew of.

"-So, I called you to ask for your opinion." Marinette finished.

"Girl, there is no way I am letting you pass up this opportunity! Do you really have a reason not to go?" Alya told her.

Marinette pursed her lips. "Well, I was scared of what you'd think. I didn't want it to seem like I was abandoning you."

Alya let out a fake gasp. "How dare you think so lowly of me!" She yelled dramatically, striking a classic 'woe-is-me' pose. "What kind of best friend would I be if I wasn't extremely over-supportive of you going to this school? Marinette, you should be ashamed! Ashamed, I tell you!"

Both girls simultaneously burst into a fit of giggles, which then erupted into roaring laughter. They didn't stop until they were struggling to breathe, tears forming in the corners of their eyes.

Things always seemed a hundred times funnier when they came out of the mouths of your best friends.

"You know what would totally be awesome?" Alya began after (mostly) recovering from their laugh attack. "You should definitely introduce me, Nino, and Adrien to any new friends you make at your school. That way, we could have one giant friend group! Also, I'll need to run a background check and approve of all your new friends. I don't want you to befriend anyone that could potentially hurt you."

Marinette laughed. "Alya, I don't even know if I'll make any new friends."

"There is no way anyone could meet you and not instantly want to be your best friend. Literally, our whole class loves you, except Chloe, but I don't think she loves anybody. You'll make tons of new friends."

"Alya, you know what? I think I'm gonna go."

Alya squealed. "I knew I could convince you! But you have to call us every day and have lunch with us at least once a week. Also, if you're not busy, we have to meet up on weekends."

Marinette rolled her eyes playfully. "Obviously. Those are all given."

"I can't believe you're gonna go to a fancy art school!"

"Why do I feel like you're more excited about this than I am?" Marinette teased.

"That's because I am. Overly-supportive best friend, remember?"

Marinette laughed again. Talking to Alya had really hyped her up for the move.

"I've gotta go help my mom with some stuff. See you tomorrow?"

Marinette nodded, giving her friend a little wave. "Bye!"

"Byeeee!" Alya blew a kiss at the screen, then hung up.

»»————- ⚜ ————-««

The next few days went by rather quickly. Marinette had come home from school on Friday and told her parents that she had made her decision. The next thing she did was send an email to the school telling them that she was interested in enrolling. They sent their response back rather quickly and scheduled an appointment for her, which she attended a few days later.

They mostly just gave her a tour of the building and introduced her to some potential teachers. She met the principal, Mme. Ambroise, who had seemed to be a very kind woman who genuinely cared for each one of her students.

A week later was her last day at her current school, Collège Françoise Dupont, and boy was it emotional.

Her classmates gathered around her, offering their goodbyes and wishing her good luck. Some have even brought gifts. Rose had handed her friendship bracelet with her name on it, and a quick glance showed that the entire girl squad had one as well.

Mylene, Rose, Juleka, and Ivan had also gotten Luka to help them make her a song that she downloaded and vowed to listen to on her first day. Nino had also made a few remixes of it, so she had a variety.

Nathanial had drawn a portrait of her as a half-phoenix, to represent rebirth and starting over.

Alya had gotten her a set of brand new charcoal pencils, and Adrien had gotten her the prettiest sketchbook she had ever seen. It had the Eiffel Tower on it, which he said was because he had heard her say it inspired her. He and Alya had thought that since she would be starting at a new school, she should have some new supplies to really start off fresh.

The gifts really touched her heart, and when it was time to hug everyone and say their last goodbyes, half the class was almost in tears.

»»————- ⚜ ————-««

Marinette was very tempted to collapse onto her bed the second she got home and contemplate her entire life, but she needed to get her things ready for the next day.

She emptied her backpack of all the workbooks and papers from her old school, but then she decided to dump everything else out so she could clean her bag. There were a lot of crumpled up papers and even if you stray pencils.

Once she was done, she put in her pencil case and a few other supplies, along with the new sketchbook and pencils she had gotten.

When Marinette was done, she realized how much spare time she had since she didn't have any homework to do, and decided to clean her room. Tomorrow was a new beginning, why not start off with a tidy bedroom?

She cleaned up and put away some stray fabrics, yarn, and thread. She also took the time to hang up the art Nathanial had given her.

Marinette stared at her walls, hesitating. Should she take the pictures of Adrien down?

This was supposed to be the start of a new era for her, right? Adrien didn't seem to have returned any of her affections, so maybe she should move on?

No, what was she thinking!? Just because she was moving to a new school doesn't mean she was giving up!

But at the same time, what if she met someone else? Adrien was clearly uninterested, maybe she was thinking these thoughts because she had already partially moved on. She had even gotten over her stutter.

Marinette's hand hovered over one of the pictures, then she shook her head. She would just wait and see if her feelings changed the next time she saw him.

»»————- ⚜ ————-««

Marinette spent the rest of her day helping her parents in the bakery and working on a leather skirt. She didn't usually work with leather, as it was one of the more finicky materials to sew, so she was getting some practice in.

Marinette went to sleep early that night, grateful that Hawkmoth had decided not to release an akuma that night. She hoped that maybe tomorrow she'd actually get to school on time. »»————- ⚜ ————-««

Cursed Masterlist

Read it on Wattpad

Read it on AO3

mistydacat Masterlist

#felinette #miraculous ladybug fanfic #miraculous ladybug

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emilyaxtell · 4 years

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Actually, speaking of ‘promo’, here’s one I did for Circus Lonely, using the original photo that I used for the cover.

The colours are different on the cover partly because I printed the design out, added the type/dots using transfer lettering, and then scanned it back in, which is why it’s so textured. Plus the fact that the original photo was film, so I had to scan that in as well. It was all very lo-fi!

I made this to be a poster that I’d sell on redbubble, which was incredibly ambitious of me to assume that anybody would want a poster for my album. I never actually posted it, I don’t think, it was mainly a design exercise.

Due to it being transfer lettering, the actual type on the album is way more interesting than what’s on this poster, but I like that they’re clearly in the same spirit, a cohesive set, but different enough to be their own things.

#graphic design #archive #little brother #circus lonely #poster

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fromherlips · 5 years

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you’re gonna live forever in me

did y’all REALLY think my ass wasn’t going to do something for this? i remember thinking that 2019 was so far away when i finished ‘in your atmosphere’ and now it’s here and i’m here and we’re here and i can’t believe that time has passed like this. in full disclosure: this is completely self-indulgent. i haven’t written anything in almost a year but i couldn’t resist. so, here we are, pals. many, many years later. happy end of nyfw!

New York Fashion Week was a spectacle that Eva had dreamed about since she was a kid. Growing up, it was a week long event she strived to be a part of, someway, somehow. She wanted to live and breathe the same air as the editors and buyers, cramped in the corner in standing room only or sat in the frow, brushing shoulders with fashion’s elite. It happened twice a year and determined trends, styles, moods, personalities, and so much more.

Eva’s first fashion week was just two weeks after she moved to the city. She didn’t know a single soul, but went to shows to cover for her boss, an influencer with enough clout to land her in the front row. Eva sat rows behind, not important enough to land a coveted seat, but she was just happy to be there. Things were different now. Seats were filled by Instagram following and not status in the industry, but she was stuck in the whirlwind of Manhattan (despite subletting a closet-less room in Crown Heights). Eva was left taking notes on her phone, geared up to write a review for her boss’ blog after their next show, typing furiously on her outdated iPhone (by New York standards) in the back of a luxury Lyft while they carted off to the next show.

By the end of her first day carting around from show to show and trying to keep up with her new boss who didn’t talk very much–not even on her Instagram Stories–but seemed to know anyone and everyone at the shows and events they attended, Eva was exhausted. She collapsed onto her stiff mattress, the cheapest she could find on Wayfair without blowing through the meager savings she had from college, too tired to go to the fridge to get water and heat up the pasta she had made the night before, and too burnt out to talk to her roommates who were perched on the couch watching whatever they were binging on Netflix at the time.

With her clothes still on, Eva rested her hand on her cheek, careful not to transfer any makeup onto her comforter. She squeezed her eyes shut, the feeling she’d been trying to suppress for months creeping up. It came to her in the moments when her guard was down, when she was too tired to fight the thoughts that plagued her mind. But in her moments of weakness, her mind always traveled back to the moment in his bedroom, both crumpled on the floor, sobbing like they’d never sobbed before. Back to the green-eyed, floppy-haired boy with tattoos scattered across his skin, the same skin her fingers had skimmed over, the same skin she felt beneath her, on top of her. Back to the person she loved the most in this world, the only person she wanted to curl up next to after a long day.

Harry was everywhere. There were the obvious places. On the radio when she took cars with her boss (she couldn’t afford them on her own), playing when she browsed through stores while she tried to make friends, on posters around the city promoting their newest single, one that Eva couldn’t bear to listen to anymore. He was in the Chloe perfume she kept on her nightstand, in the threads of her Wildfox sweatpants she debated on donating before she moved, in the sketchbooks she hadn’t touched since she moved. Harry was everything and then he was nothing and Eva was the only person to blame.

She hated that word, blame. But what else was she supposed to call it? She knew it was for the best, somewhere deep down within herself, even if she couldn’t recognize it anymore. But knowing it was right didn’t make it less painful. Knowing it was right didn’t make the image of his face, puffy and red and damp with tears, disappear from her memory. It didn’t make her stop missing him. It didn’t change anything, but it kept her hopeful, even if it didn’t feel that way most of the time.

Eva felt sad and lost and lonely and like she was failing at everything she set out to accomplish. She wanted New York City more than anything she wanted in this entire life. But she knew it wouldn’t be easy. So she cried into her brand new sheets after her first day of New York Fashion Week. She cried for Harry, she cried for herself, she cried for the unknown.

That was the last time she had cried during Fashion Week. Her life in New York still brought her to tears, but she was starting to learn that it was normal in her twenties and the breakdown she had during her fifth month living in the city was a right of passage that she accomplished early on. It took her six months to feel okay with herself, but not once did she doubt the decision she had made to move. She knew the city would knock her on her ass, both figuratively and literally (tequila, stilettos, and cobblestone in Soho don’t mix), but it was worth it, wasn’t it?

By her second spring/summer fashion week the next year, Eva felt confident in herself, in her work, in who she was becoming. She sketched more, she made friends, she invested in a mattress topper to make her sleep schedule less painful. She had also started dating a model (unplanned) who lived near her office (convenient) and had blonde hair and brown eyes and not a single tattoo anywhere on his body. She thought she had loved Paul but when they broke up ten months later because of distance (the irony didn’t miss her), Eva didn’t cry, didn’t dwell, didn’t spend months wondering if it was the wrong choice. She wasn’t angry or hurt or confused, she just felt lonely again in the big city, something easily solvable by brunch, happy hour, or casual movie nights with friends.

By fashion week in 2019, Eva had been in the city for over three years and was still settling into her position at Milly. She loved working as an assistant and adored styling for the now defunct print magazine that likely still owed her some money, but being a design assistant at Milly was everything she could have asked for as a 25 (going on 26) year-old. She was still close with Jillian and her old boss, which is how she somehow managed to score an invite to a Conde Nast party on the second night of fashion week.

She had gotten a dress lent from a PR company thanks to Jill and somehow managed to figure out her hair and makeup on her own. Eva painted her lips with crimson red, a stark contrast from the cobalt blue of her dress and white frothy collar adorning her neck. She’d slicked her hair back for ease (and because it was admittedly a bit dirty), hoping it would stay in place throughout the night so she wouldn’t nervously play with it. She wasn’t sure what to expect from the party aside from free food and drinks and hopefully some entertainment.

Eva spent the first hour wandering around with a glass of champagne in her hand, making eye contact with people she vaguely knew from other events or photoshoots but didn’t speak to out of fear of conversational rejection, something she knew well from living in Los Angeles for so long. It didn’t bother her, she liked the people watching and was just happy to be there, truthfully.

A seemingly familiar face caught her eye, but she figured she was just seeing things. Forever a lightweight, she was already two glasses of champagne deep on an almost empty stomach and was seeing things. Hallucinating. It could have been anybody.

She switched to water and grabbed a few hors d'oeuvres, silently chewing in the corner of the space while she tried to sober up. This wasn’t the night for reminiscing. This was a Conde-fucking-Nast New York Fashion Week Party, for gods sake.

At least half an hour had passed and Eva had made the rounds again after meeting up with Jillian and one of her industry friends for a legitimate conversation on Fashion Week plans and not something superficial (which was gratefully appreciated after her years of fashion week attendance). She was in search of another drink now that she was sure she was done seeing things.

Unfortunately, Eva couldn’t make it to one of the waiters making the rounds before she saw the familiar face again. This time, she couldn’t blame it on the alcohol because she knew it was real. He was alone now, swirling what was left in his champagne glass. He looked the same, yet entirely different, and Eva felt transported to a different time. A time when he was hers and she was his and they were tangled underneath the sheets of her bed in that shitty Los Angeles apartment that was too small for her and her things and their makeshift life together.

She felt nauseous then sad then nauseous again. Was the room spinning? It felt like it was spinning. She wondered if this moment would ever happen, if fate would put the two of them back in the room together (even if fate went by the name of Niall, her meddling friend that wanted his power couple back together). She even thought about what she might say–what she might do–if she was put into this situation. But now she was here in a pretty dress and wanted to bolt as far away from the boy whose heart she broke so many years ago, the boy who wrote a Grammy nominated album on how she’d ripped his heart out, the boy who probably deserved better but also needed to grow up.

Despite the fear and nausea, Eva felt herself walking towards the person she’d never thought she would see again. Did he see her? She thought he looked her way, but he didn’t start sprinting so maybe he’d looked right past her. She was still the same Eva, but her hair was shorter and her cheeks more angular. But then she could see his eyes fixated on her, watching her as she maneuvered through the party guests that seemed to gather in his atmosphere.

She didn’t have a line planned. Was she just going to say “hi” or “hello” or just silently stare and hope that was a sufficient greeting? This worried her as she approached him, her feet planting straight in front of the boy she used to love.

“Eva,” he said, no greeting required. “What’re you...hi.”

She tucked a rogue curl behind her ear, sweeping it back from her chin.

“Harry,” she replied, her lips curling into a sweet smile. “Congrats on the new album coming out in a couple of months. It’s nice to see you back with the boys.”

Congrats on the new album? Is that all she could say?

“I...thank you,” he replied. “It’s nice to, erm, be back,” he told her.

“Right, I can imagine,” she said, her heart thumping harder in her chest. Was she okay? Or was seeing Harry after all these years setting her into panic mode? “You lads are close. But, I-uh...how’ve you been, Harry?”

How have you been? Are you serious, Eva? What the fuck, she thought.

“Same old,” he replied.”What about you? I didn’t, um, didn’t know you’d be here?”

She quirked her brow. “In New York or at the party?”

“The party,” he replied. “Niall...he told me you were here a while ago.”

She nodded. Niall was their unofficial liaison, it appeared.

“I saw that you moved here,” she said. “Those damn trending headlines. Niall mentioned it once or twice or a dozen times as well.”

“Just needed a change of pace,” he explained with a shrug. “I’ve always liked visiting, Figured there could be no harm in living here for a bit.

“It’s a good place to be,” she agreed.

She knew she was staring, but there was something so mesmerizing about Harry. She was no stranger to his good looks and undeniable charm. The thing about Harry was that she still saw him everywhere. She saw his many haircuts, his new tattoos, the shift in his style. She saw his attempt to grow facial hair and the 90s haircut and the mismatched rings adorned on his fingers. But she still took the time to study his face and take him in for all that he was, finally in front of her after all of those years.

It didn’t escape Eva that this was how they first met. Well, kind of. He was drunk and slurring but still trying to be as helpful as he could be. Eva was burnt out and fighting imposter syndrome, wondering what this pop star was doing talking to her in the room full of people who were infinitely more interesting than she was. But now she was drunk (or at least buzzed) standing in front of the same boy in his pastel blue pants and ruffled shirt for the first time since that night in his bedroom, the night that changed everything for them, whether she liked it or not.

She wasn’t sure how long she had been staring, but Eva snapped out of her daze when she heard Harry speak again.

“Coffee,” he said, beginning to play with the rings on his fingers.

“Coffee?” she asked.

“I mean...we should get coffee. Or smoothies. Or…” he stammered, letting his voice trail off.

“I’m pretty busy this week,” she replied.

“Fuck, right,” he swore. “Fashion week...you’re right.”

“But give me your new number and I’ll let you know when I’m free when this week from hell ends,” she added quickly, fishing her phone out of her clutch. She tapped her feet nervously while Harry typed his number in. Niall had tried giving it to her but she didn’t trust herself with it. She’d have one too many drinks and say things she didn’t mean. Or worse, she’d let it sit and rot in her contacts, too afraid of what could happen.

Eva wanted to linger in his presence, soaking up every last second of his aura. But instead, she slipped her clutch back underneath her arm, taking two steps backwards as she waved goodbye, faintly smiling at the boy in front of her.

“Good luck, Ev,” he told her as she walked away, disappearing into the crowd.

It felt like she was walking through a daydream. She could barely register anything around her. She merely grabbed another glass of champagne, pressing the glass against her lips and leaving a deep red stain in its place. She found a semi-abandoned corner of the room, sipping slowly while she tried to process the moment. It was short, no longer than five minutes, but it felt as if she had been standing in front of Harry for a lifetime.

For so long, she wondered what she would say to him, what she would do, how she would feel. But nothing could prepare her for the actual moment when their lives collided again, intersecting like they had when they were nineteen and drunk and tired and two entirely different people.

Their moment was over, but it didn’t feel as such. She felt something in the pit of her stomach, albeit faint, but it was there. It very well could have been the champagne, or hope, or a combination of both. Harry Styles had managed to orbit back into her life, or hers into his, but this time it felt different. She felt different. And that had to mean something.

#i'm a self indulgent piece of shit #i also wrote 90% of this when i was wine drunk and sad #a recipe for disaster #anyways hi guys i'm going to lay down and watch one tree hill now and outfit plan #iya

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