#bluesy scenes

[macdaddylex]

i believe in blue lily lily blue supremacy. if you disagree, you hate fun.

#the amount of adam parrish won me over #pynch hints #bluesy scenes #COME ON PEOPLE #trc #the raven boys #the dream thieves #blue lily lily blue #the raven king #the gangsey #richard gansey #dick gansey iii #richard gansey iii #gansey #blue sargent #adam parrish #ronan lynch #pynch #bluesey #piper greenmantle #she’s a badass come on

[chainsawcawcaw]

will heaven really be heaven if there is no dream thieves there?

#how am i going to live in a world without blue sargent? #and whatever gansey had going on with ronan in that one scene?? #richard gansey #richard gansey iii #blue sargent my beloved #the raven cycle #bluesy #ronan lynch

[unorganisedbookshelf]

“I wish you could be kissed, Jane” he said. “Because I would beg just one off you. Under all this.” He flailed an arm towards the stars. “And then we’d never say anything about it again.”

The Dream Thieves, Page 376

#this entire bluesy scene has my heart #i fucking love them #bluesy #blue sargent #richard gansey #gansey #trc #the raven cycle #the dream thieves

[kazbiter]

very interested in how the storyline of ronan's sexuality is developed in the dream thieves as a battle between kavinsky and gansey while adam is almost never present in these scenes, which makes it even more interesting that we found out in CDTH that ronan was set on adam the moment he saw him. i think that ronan is attracted on some level to both gansey and kavinsky (you can draw the lines of how much romantic intention you think he hold towards either of the yourself, that's a rabbit hole I would need a whole other post to go down) but more so I think he was attracted to the IDEA of both of them and certain qualities that each possessed, and that the real question wasn't does ronan want gansey or kavinsky because we know he wants adam but rather who's qualities resonate more with who ronan is, or who he is choosing to be at this critical moment in his character development. kavinsky is a dangerous thrill and often comes wrapped in ronan's other favorite self destructive attempts to outrun himself, while gansey is ronan's history and proof of his deep capacities for loyalty and love. he tells kavinsky it was never going to be me and you and that it's not going to be ronan and gansey because that was never the question- maggie was obviously always planning on bluesy and pynch. the answer to who ronan WANTS in adam. the question of who ronan IS- that's what he's trying to decide here. his self hatred is such a heavy weight on him and theme in tdt, and the kavinsky/gansey dichotomy represents the the path he will choose to take to deal with it- keep try to drive faster than his demons or accept that he can still be loved even if he isn't the person he once was. the dream thieves my beloved ronan lynch my beloved

#obviously I'm not the authority on this lmao these r just my thoughts but I would love to hear ur thoughts as well!!! #this has been in my drafts for a while while I kept updating and tweaking it but I think this is the best way to say what I'm trying to say #also lot of kavinsky posts here at kazbiter recently not very sure what's up w that #anyways yeah I really do think this is why she did it this way like I don't think kavinsky ever even says adams name?? i could b wrong tho #and I always found that interesting and while I appreciated he was the leader of ronsey nation I was like how does he not know abt adam #and this is my conclusion I think it was an active writing choice of Maggie's bc the dichotomy of gansey/kavinsky just really works for #ronans personal overarching plot of the book that is undoubtedly his in trc

[bonefall]

How did Bluestar lose her nine lives? I’ve always been curious about the time period between BP and TPB but the books of that time just…aren’t good

I think it's unfortunate they never did anything interesting (PLAGUE) in that time period, because I think (VIOLENCE) it would have made a great setting for prequel books. In BB I think it's one of the most interesting periods of history, because soo much is being set up in that time.

In BB we call that this timeslot the Late Campaign Era and the Early Broken Era.

I'll share the rough "sketch" in my head for how Bluesy loses her 9 lives in BB, BUT you have to promise to take it with a grain of salt because only the last few are plot relevant.

Wrecklessness I feel like there's a phrase for this in Clanmew; leaders tend to lose their first lives to a lack of caution. The power boost makes you feel invincible. It was something ridiculous, like fighting a hawk.

Saving Thistleclaw from a car She TOLD him not to run onto the road, he was about to die EXACTLY like Snowfur and she saved his dumb ass. He was uncharacteristically quiet for a few months after this, but it didn't last.

Large Predator At some point, Darkkit and Cricketkit wandered off and Bluestar joined the patrol to find them. She had to tangle with a large predator, and medical treatment got delayed long enough that infection set in. She died, but StarClan purged the infection and she was able to recover. I like the idea that treatment got delayed because there was a sudden blizzard and she pulled the kits into the (now empty because she killed that animal) predator's den to stay warm.

Sunningrocks She got launched off the rocks and tossed in the river. UNRESTRAINED SUMMER FUN

Plague It was in style at the time. All the girlies were getting matching buboes.

Retrieving Barley Junior and Violet Junior from BloodClan This was after Lizardstripe had died, but it was the last time she ever met up with her Forget-Me-Nots. It was a last hurrah. I do sometimes consider shuffling this to be BEFORE the Plague death though, to a time when Lizzy would be alive.

Rats or Equivalent I'm open to changing this death to something else as long as it still happens in TPB, since it's the narrative introduction to how leader lives work.

Greencough Like canon, don't see a need to change it.

The Gorge Iconic death. A swan dive right into the hearts and minds of every blown-away 10-year-old who read the scene.

BB!Bluestar was 13-ish when she died, and assumed power when she was about 6. Brokenstar took power in ShadowClan a couple years after she did, ending the Chivalric Period.

#Better bones au #BB!TPB

[ceruleanwhore]

I was just listening to the OtGW soundtrack in the car and I realized that there’s stuff in the music that actually backs up my kinda crack theory that the Queen of the Clouds is actually the Beast, or at least is tied to the Beast somehow (if we’re going with the idea that the show is Dante’s Inferno, the Woodsman and Adelaide could represent two of the three beasts from the Dark Wood of Error while the cloud lady could be the third.) First, I just want to take a moment to introduce my theory since I haven’t posted about it before. Basically, a while ago, as I was thinking about the ending of the series and trying to figure out what Greg wished for and how he ended up going from the Queen of the Clouds to being in that daze under the Beast’s control, it occurred to me that maybe they were one and the same. Part of this comes from how information about the Beast is provided to the boys and, by extent, the audience. We start off with generic fear about a nameless, nondescript ‘beast’ but, in “Songs of the Dark Lantern”, we are told for the first time that the Beast tells lies and also that the main thing he does is turn children into trees that he harvests for oil to fuel his lamp. To me, this says that he can’t just sneak up behind a child and turn them into a tree but, rather, that he tells lies because he has to lure them in somehow and trick them into becoming the trees. Also, the Beast is known for his lies and we see the Cloud Queen showing Wirt to Greg and lying to him about how Wirt has already been claimed and is too far gone and there is no way for him to go home with Greg. The other main piece of evidence for my little theory here is what Greg is doing with the Beast at the end, how he’s acting, and what exactly he’s saying. He’s doing stuff like putting a teacup on a rock so the sun sets behind it, because he had been told to catch the sun in a cup, and the Beast praises him for this, using a soft tone of voice like a normal person would use with a child that really isn’t befitting of a ‘beast’ at all. And yet, after being shown to do a task that the Beast asked him to do and praised him for completing, Greg is still saying to Wirt that he “did it,” that he “beat the Beast.” Well, if he was even the tiniest bit grounded in reality, there would be no way in Hell he’d be saying that as he’s been going around serving the Beast himself while his physical condition gets significantly worse and he even starts coughing up leaves. This clearly indicates that Greg is out to lunch, mentally, and I think it strongly supports the idea that Greg does not know at all that it’s the Beast who’s having him do stuff like catch the sun in a cup or that it’s the Beast who’s praising him. What I think it is is that, in his head, this is all stuff he’s running around doing for the Cloud Queen in order to set up for or earn whatever his wish was and she’s the one he sees and hears and thinks he’s talking to. Now, as for how the soundtrack further supports this, I’d like to start with singing in the series. Most characters don’t sing at all and few have their own songs, but something that just became clear to me is that, like what Lin Manuel Miranda did in Hamilton, each character who really does sing their own songs gets their own signature style of music. For example, Jason Funderburker (the frog) gets that kind of bluesy sound like in the opening theme and the song “Over the Garden Wall”  while Greg has that really upbeat kids’ music, like with “Potatoes and Molasses” and “Adelaide Parade.” More importantly, though, the only two characters in the whole thing who ever sing opera are the Beast and the Queen of the Clouds. Other bits include the part where Greg is ‘Greg’ to literally everyone except the Cloud Queen and the Beast, who both call him ‘Gregory.’ Additionally, there’s the scene at the start of the last episode when the Beast is talking to Greg and he says “Anything is possible if you set your mind to it, right?” which sticks out because we’ve never seen Greg say that to the Beast or even just around him, but he did just say it to the Cloud Queen not that long ago. This one’s a bit of a stretch but there’s also how the light reflects in Greg’s eyes both as he enters the dream and when he’s talking to the Queen of the Clouds which reminded me of the “you have beautiful eyes” part of the first episode when those wild, glowing eyes of the corrupted dog reflect in Greg’s own eyes. Moreover, the lyrics of “Everything is Nice and Fine All the Time” and “Forward Oneiroi” have some bits that sound kind of sinister, which doesn’t make sense if the Cloud Kingdom and their queen are actually just good and nice. Specifically, “Everything is Nice and Fine” has a couple mentions of lies, which is something that throughout the series really only comes up in the Unknown when it comes to the Beast or fear of him, and there’s one line that really sticks out to me of “Our songs are filled with love, the sweetest lie/And we can send them down to you with a little shove.” The cherubs in this Cloud Kingdom are literally coming out and saying that love, or maybe just their love, is a lie so their songs, including the one they’re singing about how everything is nice and fine all the time, are “filled with” a lie. Not to mention the line of “Lasso a cloud and make the flowers grow,” which is eerily reminiscent of the task Greg is given later on of “lowering the sun out of the sky and into this china cup” in how it’s such a whimsical yet surreal and impossible action. I’m also just going to put the lyrics to “Forward Oneiroi” here real quick so you can see them:      Forward, cherubs, hear the song      A child's wishes call us on      Descend! Descend!      'Ere he 'scapes, for dreams      Our winged wind hath made      For only beneath the veil of sleep      Can we Oneiroi act on men. The first thing I want to talk about here is the actual Oneiroi. From what I found, Oneiroi were lesser deities of dreams in some forms and areas of Hellenic paganism who were led by Morpheus, who tended to take a human shape in the dreams he visited. If the welcome wagon is all the Oneiroi who are addressed in the Cloud Queen’s song, then that means that she, as their leader, is the Morpheus figure, as in a powerful being who isn’t actually human but takes a human shape in dreams. Also, that second part of “Descend! Descend!/'Ere he 'scapes” sounds genuinely threatening. If the dream is so good and “everything is nice and fine all the time,” why would Greg ‘escape’? And now I’ll  put in the lyrics to Beast’s part of Come Wayward Souls too because I want to compare these two songs:      Come, wayward souls      And wander through the darkness      There is a light for the lost and the meek      Sorrow and fear are easily forgotten      When you submit to the soil of the earth Okay so where I’m going with this is that these songs feel very similar to me, both in tone and musicality as well as lyrical content. If you took “Forward Oneiroi” and swapped out the words “cherubs” and “Oneiroi” for “children” or “souls” and then just put it in a darker sounding minor key, I think it would feel about the same as “Come Wayward Souls” and I definitely could see that song being one of the Beast’s. I would also point out how the lyrics of both the Beast’s songs have this weirdly encouraging, light, hopeful tone, which makes sense given that he waits for kids to get lost and give up and then he comes in and scoops them up. In “Wayward Souls,” he says “There is a light for the lost and the meek/Sorrow and fear are easily forgotten/When you submit to the soil of the earth,” which yes, sounds kinda ominous with the part about submitting to the earth but, really, is putting light and hope out there. It’s saying that, if you just go with him and submit to the earth, there is a light for you, some beacon of hope, and you can forget the sorrow and fear you’re currently feeling. He does the same in “The Jolly Woodsman,” too: “When the fog of life surrounds you/When you think you've lost your way/Come with me and join the forest/Come with me and join the play.” Lastly, I want to compare the kids’ choir part of “Wayward Souls” and “Potatus et Molassus” to “Everything is Nice and Fine.” For reference, the full choir part is “Grow, tiny seed/You are called to the trees/Rise 'til your leaves fill the sky/Until your sighs fill the air in the night/Lift your mighty limbs/And give praise to the fire.” The first thing that sticks out is how much this choir of children who we know to be the souls in the edelwood trees are talking about reaching up to the sky with the branches of their trees, which reminds me of lines like “So hitch a ride into the sky,” “The softest clouds and rainbow skies ain’t gonna lie,” and “Everyone is sittin' pretty on top of the weather,” from “Everything is Nice and Fine.” I thought I’d already said it but I just looked back and apparently I didn’t say that, with the idea that the Cloud Queen is the Beast, there is also the idea that everyone we see in Cloud City is just the not-yet-sacrificed souls of the children in the edelwoods, and stuff like this kinda goes with that. Another thing I noticed that makes sense to me, though idk if it’ll make sense to everyone, is that “Potatoes and Molasses” is to “Potatus et Molassus” as “Everything is Nice and Fine” is to the children’s choir part in the Beast’s song. I would even go so far as to claim that the whole point of the “Potatus et Molassus” reprise is to draw attention to “Everything is Nice and Fine” and then call into question everything from the Cloud City stuff. I say this because, as I said previously, each character who sings their own designated songs has their own designated style and Everything is Nice and Fine is in a similar style to Greg’s own style (it’s a bit different though, so it’s not like they just used Greg’s style because it’s his dream or something) while “Potatus et Molassus” is in the same exact style as the “grow tiny seed” stuff, to the extent that the children’s choir is even used in that song. So, when I look at Greg in episodes 8 and 10, I think that what’s going on is that the Beast doesn’t just come up and talk to you as this ominous, scary shadow guy with antlers and weird eyes but, rather, he can be subtle and manipulative and do shit like get inside of your head and manipulate you. After all, Satan’s a liar and a conjurer too and, with the Inferno view of OtGW, the Beast is Satan. My bet is that, at the start of episode 10, Greg is aware enough to know that he’s no longer in his dream but he sees the Queen of the Clouds rather than the Beast and imagines that she’s there to guide him through whatever tasks he needs to do to get Wirt back and go home or whatever. Once there’s the tree starting to grow around him, I believe that, in his head, he succeeded and then was back home or maybe some other nice, cute, safe space like Cloud City with all the other souls. When he sings “Potatus et Molassus,” in whatever is going on in his head, he’s just having a good time wherever he is, singing “Potatoes and Molasses,” like how he and all those other children heard a lilting soprano instead of an ominous bass when the Beast sings. (Sorry this was so long btw)

#over the garden wall #otgw #over the garden wall meta #otgw meta #otgw greg #otgw wirt #the beast #otgw beast #otgw soundtrack #over the garden wall soundtrack #over the garden wall analysis #otgw analysis

[doomedandstoned]

Austin’s AIWASS Resurrect  Scottish Folk Song ‘Cruel Brother’ in New Single

~Doomed & Stoned Debuts~

By Billy Goate

Artwork by gozien_crayon

It has been estimated that some four million new songs are being released into the world of sound every year. Certainly, it's been hard -- neigh, impossible -- to keep up with all the new albums churned out just in the doom scene. As a consequence, it is all too easy to loose touch with the great songs of the past. I'm not talking about songs from the '70s, '80s or '90s, but those written generations and generations ago, stretching back into Medieval and Renaissance times.

That's why it's so refreshing to encounter a band taking on an old Scottish ballad like the one before us. Taking a cue from Battlefield Band, the traditional folk group who brought "Cruel Brother" to a wider audience decades ago, Austin, Texas band AIWASS gives this tragic tale a unique twist.

Dark, moody synthesizer surrounds the senses as the track begins, as if to transport us hundreds of years into the past to a scene unthinkable: a dying bride, a spiteful brother, a grieving knight, and an atmosphere teeming with sadness and revenge. Gently plucked mandolin strings cross with acoustic guitar. Misty, forlorn vocals tell the tale of love found and lost, eventually engaging the full powers of the doom metal quartet, complete with foreboding drums and bluesy, bittersweet guitar riffs.

Frontman Blake Carrera comments:

The themes of the song, despite being an old Scottish ballad, are quite familiar to listeners of doom and metal in general: love, lust, violence, and loss. By reinterpreting this song, we hope to bring the past into the future. The screams at the end of the song are not just an identification that this is “blackened doom”; they are also the screams of loss and sadness that are perpetuated throughout time by all of us.

Aiwass caught my ear during the pandemic, when we premiered and gave a detailed review of their first LP Wayward Gods. Since then, the band has expanded with founding member Blake Carrera (vox, guitar, mandolin, synth) joined by Eddy Keyes (vox, acoustic guitar, bass), Pablo Anton (guitar), and Grant Husselman (drums). As a result, the Aiwass sound has evolved into something wonderfully nuanced and altogether powerful.

"Cruel Brother" will be issued as a standalone single on Friday, March 28th (get it here). Fans of Green Lung, take notice

Give ear...

AIWASS - Cruel Brother

Follow The Band

Get Their Music

LYRICS

[Verse 1] There were three ladies played at baw Hey wi the rose and the linsey o But a knight cam by, played ower them aw Doun by the greenwood sidie o

[Verse 2] This knight bowed low tae aw the three Hey wi the rose and the linsey o But tae the youngest, he bent his knee Doun by the greenwood sidie o

[Verse 3] O lady fair, gie me your haun' Hey wi the rose and the linsey o And I'll mak ye lady ower aw my land Doun by the greenwood sidie o

[Verse 4] Sir knight, ere you my favour win Hey wi the rose and the linsey o Ye maun gain consent ower all my kin Doun by the greenwood sidie o

[Verse 5] He gained consent fae her parents dear Hey wi the rose and the linsey o And likewise fae her sisters fair Doun by the greenwood sidie o

[Verse 6] He's gained consent ower all her kin Hey wi the rose and the linsey o He forgot tae speak tae her brother John Doun by the greenwood sidie o

[Verse 7] When the wedding day was come Hey wi the rose and the linsey o This knight would take his bonnie bride home Doun by the greenwood sidie o

[Verse 8] Her mother led her through the closs Hey wi the rose and the linsey o And her brother John stood her on her horse Doun by the greenwood sidie o

[Verse 9] He took a knife baith long and sharp And he stabbed the bonnie bride tae her heart

[Verse 10] Lead me tae yon high, high hill Hey wi the rose and the linsey o And I'll lie doun and I'll mak my will Doun by the greenwood sidie o

[Verse 11] And what will ye gie tae your brother John Hey wi the rose and the linsey o The gallows tree for tae hang him on Doun by the greenwood sidie o

[Verse 12] And what will ye gie to your brother John's wife Hey wi the rose and the linsey o The wilderness tae end her life Doun by the greenwood sidie o

#D&S Debuts #Aiwass #Austin #Texas #folk #doom metal #Cruel Brother #Scottish ballad #D&S Reviews #Doomed and Stoned

[looseygoosey66]

REHAB DOLL TURNS 35!

The story of Seattle’s rise to global rock supremacy in the late ’80s and early ’90s begins with Green River. Made up of Jeff Ament (bass), Mark Arm (guitar/vocals), Bruce Fairweather (guitar), Stone Gossard (guitar), and Alex Shumway (drums), the quintet put out three 12”s and a 7” single during its brief existence. Green River’s influence on Seattle’s music scene spread far and wide thanks to the members’ dispersion into bands including Pearl Jam, Mudhoney, and Love Battery, as well as the punk-glam-sludge-rock songs they left behind.

“By ‘83, ‘84, there was definitely a movement that was happening within hardcore, like Black Flag slowing down for My War,” says Arm. “The Replacements and Butthole Surfers were rearing their heads, and they’re very different bands, but they’re not hardcore—the Replacements are pretty much straight-up rock, and Butthole Surfers were God knows what. Sonic Youth’s Bad Moon Rising was around, and a lot of really interesting post-hardcore things were happening.”

Green River, which formed in 1984, was part of that evolution, with a sound that straddled a lot of different genres—blues, punk, bloozy straight-ahead rock. The mini-LP Dry As A Bone, which came out in 1987, and the band’s lone full-length Rehab Doll, which came out in 1988, were released as a single CD with a few bonus cuts, including their sneering cover of David Bowie’s “Queen Bitch” and their marauding version of Dead Boys’ “Ain’t Nothin’ to Do,” in 1990—but they’ve been unavailable on vinyl for years. Now, these slices of Seattle music history are not only back in print, they’re accompanied by items from the vaults that had been forgotten about for decades.

Dry As A Bone was recorded at Jack Endino’s Reciprocal Recording in 1986, and it shows the band in furious form, with Arm’s yowl battling Fairweather and Gossard’s ferocious guitar playing on “This Town” and “Unwind” opening as a slow bluesy grind then jump-starting itself into a hyperactive chase. The deluxe edition includes Green River’s cuts from the crucial Seattle-scene compilation Deep Six, as well as long-lost songs that were recorded to the now-archaic format Betamax.

Rehab Doll, recorded largely at Seattle’s Steve Lawson Studios., bridges the gap between the taut, punky energy of Dry As a Bone and the bigger drums and thicker riffs that were coming to dominate rock in the late ’80s. This new edition of Rehab Doll includes a version of “Swallow My Pride” recorded to 8-track at Endino’s Reciprocal Recording, which features a more accurate depiction of how the band sounded when they played live. “When I listen to these mixes, I think, ‘This is how we actually sounded—this is the kind of energy we had,’” says Shumway.

Green River’s place in American music history is without question, but these recordings paint a more complete picture of the band—and of rock in the mid- to late-’80s, when punk’s faster-and-louder ideals had begun shape-shifting into other ideas.

#stone gossard #jeff ament #mark arm #steve turner #bruce fairweather #subpop #Rehab Doll #green river #mother love bone #pearl jam #mudhoney #seattle #35th anniversary #Alex Shumway #swallow my pride #steve lawson

[petersprincesss]

Working with Jamie

So as I’ve mentioned, I worked with Jamie in October and November on the movie Horizon up in Utah, and with a little encouragement from @jcbbby , I thought I’d share a few little things from that experience

To start, I pretended like I didn’t know who he was (lol). He was coincidentally one of the first people I met. I was standing by a campfire (it was freezing, we were on a mountainside) and he walked up and stood next to me, smoking a cigarette. I asked him for one, and he pulled one out and asked me my name and all that good stuff. I asked him his and he held out his hand and just said “Jamie.” We shook hands, talked about where we’re from (I’m from Arizona, he said he hates Arizona cause it’s too hot), he talked about making music…

Is this interesting? I’ve been thinking about truly writing out the entire experience and every conversation (I journaled extensively through this), but I don’t know if it’s amusing to anyone else

Here are a few other fun things I learned/observed about him:

He smokes Marlboro Lights

He had a YSL lighter

He likes American poetry and literature and loves to read

He didn’t come out with the other actors and crew, he didn’t even come to the wrap party. He spent most nights at his hotel watching movies

He says “bollocks”

He jumps in place to get his energy up before a scene

He gave me a tattoo tour :)

He doesn’t get cold easily. Rarely wore gloves and usually just one coat (I was wearing 4)

He likes trucks (but didn’t want to drag race with me :( (yes I asked))

He skipped meals a lot. I only saw him eat one time during the whole week (it was a chicken tender)

He describes his new music as “sort of bluesy, maybe a little western”

Kids on set LOVED him

A few people on set referred to him as Vecna

He always addresses Kevin as “sir”

Idk… there’s a few little things from my experience with him :)

#jamie campbell bower #jamie bower #jamie campbell bower gif #vecna

[the-masked-ram]

Tripping on You- Aomine x Reader

A/N: This fic was influenced by Running on Sunshine- Jesus Jackson

CW: Spicey but not nsfw, adult language, song influenced, terrible karaoke vibes, alcohol, cliche scenes, descriptive kissing, dirty talk, mature themes

----

Aomine was a jerk, he was lazy, and he had the filthiest mouth. But he also was incredibly hard on himself, he desperately tried to find something to live for, and was endlessly loyal. It was annoying, this crush you had on him, this painful hitch in your chest that would happen every time he stepped into your space. He’d breathe from across the room and your hair would raise on your arms. He’d laugh and you thought the sun was brightening to the point of blinding. When did you become such a hopeless romantic?

  This man was beyond hope. He never seemed to find the energy for anything but basketball games. Even then, if he deemed the opponent worthless, he wouldn’t even give the match half his attention. So why did you find your eyes straying to him in class, while he took a nap under the professor’s nose? Why did you chew your poor pencils’ erasers to nubs daydreaming of conversations you would never have enough confidence to start? Perhaps it was just that, perhaps it was just because you were a dreamer, and he was that unreachable height.

Tonight, it wasn’t hard to zero in on him in the crowd since you always were hyper aware of him. The bar that served the university’s campus was a regular hang out for the basketball team, but also a usual decompression place for you and your friends after a heavy study session. Karaoke was always good to let loose with.

It was filled with poor singers and that occasional pop of welcome surprise. Sometimes there was someone that had a voice of gold, that could capture the audience’s attention. But it was worth all the bad and the average to eat the amazing fries with that stupidly good garlicky sauce and get so trashed on half-way decent beer that even the worst singers sounded amazing.

It was about the atmosphere and your friends. Maybe a little about, the eye candy of Aomine just a few tables away and knowing he would be there almost every Friday night as well.

You couldn’t complain, not really, especially when he stepped up to the mic. Though, you couldn’t call his voice the best, there was an alluring rasp to it that became addictive when he chose the right songs. It seemed to fit the bluesy rock tracks, sometimes the occasional jazz or alternative number. Either way you were too far gone into you third mug of beer and probably second basket of fries. Everything sounded amazing now.

You were probably staring a bit too hard and that’s probably why he glanced at your little quiet part of the bar. Even from the distance he somehow caught you metaphorically, or maybe literally, drooling all over him. And damn him, because his lips tipped into a smug smirk.

You weren’t sure if the way your stomach fluttered was from embarrassment or fear, but you quickly dropped your gaze, no longer able to stare at his alluring blue eyes. Then the song hit the hook, and his voice flowed, it snagged you again, causing you to meet his stare straight on once more. He was still looking at you and the cock-eyed slant to lips just helped slur his words a bit more, emphasized that pussy-wetting growl in his throat.

His foot tapped to the beat and head nodded, and as the bridge happened, he ran the tip of tongue half-way along his upper lip. Every movement was hypnotizing, possibly calculated, and your head spun under his watchfulness. He stood from the stool he’d been perched on, and slunk through the crowd of catcalling bargoers, stalking up to you smoothly like a panther. The hunger and amusement shimmering in the depths of his eyes had your pinned meekly to your spot even though you shifted desperately, aching to run and hide.

It was cheesy and cliché, something you probably would have joked at, while secretly burning on the inside when not drunk. However right now you were teetering on the edge of just a bit too tipsy, and there was no pretending the way he hunted you down nor how the gluttony with which he watched you was soaking your panties. The traitorous butterflies were swarming not only your stomach but up your throat and you felt like you were suffocating as you dreamed of creaming under his tongue.

A suggestive line had him purring into the microphone, his fingers found you when he stopped directly in front of you and traced a barely noticeable line up your bicep to your shoulder, across your clavicle and lingered lovingly around your throat as you swallowed hard. He tilted your face up to him since it had drifted down when you tried to catch sight of wandering hand.

‘Watch me,’ he mouthed between words.

He really didn’t even have to tell you because your eyes were glued to his broad shoulders as he sauntered back to the stage. A hint of his teeth showed while he finished, and you couldn’t tell if you were sad or relieved when he sang the last chord. Certain that your panties were ruined, you made some excuse to your all too understanding friends and scrambled to stand. You practically ran to the door.

You reached your car with a soft sigh and started fishing for your keys.

“You’re really too drunk to drive. Besides I gave you a damn great show, it’s rude to run out, ya know?”

 You shivered as the deep baritone rolled over your spine and you whispered a prayer that the moment you turned around, he wouldn’t be slouched there with a petulant frown on his face. Your prayer went unanswered. There he stood, tall form sloped far further than it should be and tantalizing lower lip pushed out in a pathetic wobble.

 “Please, Aomine, don’t even try. You are far too tall to pull puppy eyes off,” you rolled your eyes even though your stomach flared with nerves.

A smirk curved his lips quickly and he drew back up to his full height. He tilted his head, and his eyes ate at you, as if he couldn’t wait to taste what stood in front of him. Like he was starving, and you were the best thing on the menu.

“Really though, running out when I sang for ya. What a way to hurt a guy’s feelings,” he said teasingly.

“Sorry, I just have some things to do,” you murmured, eyes darting traitorously to the side. 

“Do ya now?” he said, matching your volume but his voice turned so much deeper, so much richer like a thick coating of molasses and it had you taking an unconscious step back until your car met your ass. 

 Aomine was quick to close the distance, not caging you in, but pressing into your space and with his height it made you tilt your head up. You swallow hard as the scent of musky sweat, alcohol, and some sort of spicey cologne made your head spin. 

 “I notice,” he whispered, his words dropping even lower until you had to almost lean in and that ever present growl in his voice almost vibrated through you. 

“Notice what?” you breathed, blinking up at him. His fingers caught your chin, almost floating against your skin and you sighed, trying not to lean into the warmth of his touch.

“The way ya look at me. Always following me with those damn eyes, so fuckin’ tempting,” he slurred and when you met his gaze you noticed the way his eyelids drooped, and a flame of lust twinkled brightly in his widening pupils.

“I’m sorry,” you apologized, a kneejerk reaction. 

“Didn’t say I minded,” he leaned in, fingers tightening just slightly until they slid around the curve of your jaw. “Just stay focused on me, yeah?” 

When his lips pressed against yours, you tasted the mind-bending flavor of beer and a mint he’d obviously been sucking. It was strange, his breath mixing with yours, a dream you never thought you’d reach. You whimpered as his tongue flicked confidently against your skin, pushing until he tilted your head farther up and you gasped automatically, he was quick to take advantage. 

The kiss was all harsh and messy licks, pressure as he traced your teeth, and slipped against your tongue. You responded with one hand fisting itself in the shirt on his chest and the other grabbing onto his bicep. You met him stroke for stroke, a moan crawling up your throat, forcing him to push harder, fuck his tongue into your mouth slower and with more control. His palm moved from your jaw to the back of your skull, the other slipping around your waist to drag your closer to him, and make you literally bend to his will. 

You sighed when he pulled away and he looked at you with eyes that reflected your face back like a black mirror, “I’ve been tripping on you for a while. Been waiting for this. Been fuckin’ holding back for so long.” He breathed and then frowned at the car waiting behind you, “But you still ain’t driving home. You are so fuckin’ drunk.” 

You laughed and couldn’t stop because it was all just so crazy. This dream that you’d been chasing for so long, that you’d been staring at and just accepted to never have, now held you like you were the most precious gem in the world. All because you couldn’t stop staring. 

---Taglist

@crowned-peony

----

Check more content like this, get early access, access to my many originals, and multiple interactive writings at my Patreon. 

#aomine x reader #aomine daiki #knb #kuroko's basketball #kuroko no basket #fem reader #spicey #one shot

[dustedmagazine]

2023: Bryon Rides Anxiety’s Peaks and Valleys

Yo La Tengo

This year really tossed us all around like a gigantic blender, swirling everything together into a writhing mass of fine particles. It’s been quite the ride. Thankfully amidst the chaos, there was music. The vast cornucopia of exhilarating sounds wound itself around the many genres, and the dozens of releases spread across these twelve months. It provided the healing salve to combat the bedlam lying in the realm beyond our ears.

For me, live music in 2023 was about quality over quantity. The two shows that affected me most this past year were aligned along the theme of reunion. I’ve been a fan of Yo La Tengo since high school but had strayed from the band’s past few releases. This Stupid World brought me back into their universe. I jumped at the chance to see them in Toronto; it had been decades since I last saw them play live. They played two sets, one soft and one loud, and they didn’t disappoint. As an added bonus, I got to meet fellow Dusted writer Ian Mathers at the show. Toronto post-rockers Do Make Say Think played their first show in six years in March, around my birthday. I wasn’t going to miss it. They unleashed an enticing set of music, playing material from across their entire catalog with intense energy. It was hypnotic and exhilarating. They were also jovial, joking about the current career prospects of the band members. It was a fun night.

Many perennial favorite groups and artists released excellent albums this year. Yo La Tengo returned to their early Matador form with This Stupid World, while The Clientele expanded into new, lush and uncanny territory on I’m Not There Anymore. Califone’s Villagers pushed the band’s adventurous, bluesy roots-rock into an experimental wonderland. Bill Orcutt released Jump On It, revealing his softer side. The Live in Brooklyn 2011 set from Sonic Youth found the group trying out songs they rarely played live, as they wound down their decades-long existence. Joshua Abrams’ Natural Information Society showed that they’re not done unleashing mesmerizing sonic salvos with Since Time is Gravity. Finally, Daniel Bachman continued to push his singular brand of Americana toward the outer limits with When the Roses Come Again, and Intercepted Message found Osees covering Cisco Systems’ telephone hold music. It was a good year for long-beloved institutions.

New to me this year was the band Famous Mammals and their polyglot post-punk album Instant Pop Expressionism Now! I returned to it time and time again; it was the soundtrack to my late summer and my autumn. Digging deeper into the San Francisco band’s origins, I discovered a previously hidden world of Bay Area post-punk, populated by a tight-knit scene that originated with The World, which would fracture into Famous Mammals, Non Plus Temps, Blues Lawyer, Children Maybe Later and others. The LP in question blends elements of Swell Maps, Young Marble Giants and Television Personalities, aligning with those outfits’ brashness, naivete, and wry sense of humor. It was at the top of my list in 2023 and led me to explore the SF underground further. That digging led me to Will York’s encyclopedic tome Who Cares Anyway? York gives an in-depth perspective to the goings on in the Bay Area from the post-hippie origins of its punk scene to the self-destructive chaos of Flipper and the visionary artistry behind acts such as Mr. Bungle, Caroliner, Thinking Fellers Union Local 282, et cetera. He also investigates the unique personalities that comprised the scene such as Brandon Kearney, Gregg Turkington, Seymour Glass, Barbara Manning, and Joe Pop-o-Pie. The book is worth exploring if you’re at all interested in any of the names I mentioned.

I always highlight at least one Canadian release, and this year I really got into the self-titled debut from Toronto duo You Can Can. The pairing of sound artist Andrew Zukerman and vocalist Felicity Williams is the perfect comingling of the familiar and the otherworldly. Alien soundscapes intercept beautifully crafted song forms, with synth squiggles and abstract patterns writhing alongside folk music signifiers. Let’s hope that You Can Can have more music in store for us in 2024 and beyond.

Bryon Hayes

#dusted magazine #yearend 2023 #bryon hayes #yo la tengo #do make say think #the clientele #califone #bill orcutt #sonic youth #joshua abrams’ natural information society #daniel bachman #osees #famous mammals #will york #you can can

[deke-rivers-1957]

Rock-a-Doodle Review

Don Bluth channels a fable from the Middle Ages and combines it with Glen Campbell's Elvis inspired vocals. The intent to adapt the fable Chanticleer and the Fox into an animated movie goes back all the way to the early days of the Walt Disney Studios. Unfortunately, it never saw the light of day as Walt Disney himself rejected the project in favor of The Sword in the Stone. It wasn't until 1982 when Disney animator Don Bluth left the company, that the project was revived under his own name. It faced a lot of development issues and it wasn't until 1988 that the project officially got off the ground.

Somewhere along the way the story became very messy but one thing was made clear. Don Bluth intended for Chanticleer to be similar to Elvis Presley as confirmed in a 1990 magazine article found at this link: https://web.archive.org/web/20170106230513/http://www.cataroo.com/DBrock.html. To make it absolutely clear that it was meant to be Elvis inspired if not an alternate version of Elvis, they had The Jordanaires to do the backing vocals for their soundtrack. Even with the release date being pushed back to avoid competing against the Disney classic Beauty and the Beast, the movie was seen as a complete failure. Are there redeemable factors that showcase that hand drawn animation died too soon, or did this film completely lay an egg? Let's find out.

So we get opening narration that explains how the sun rises everyday because a rooster named Chanticleer crows. Chanticleer's song very much reminds me of Elvis up until 1956. He was known for having a twang but also a bluesy sound when he sings.

There's a confrontation between Chanticleer and the Grand Duke's henchmen that prevented Chanticleer from crowing in time. The sun comes up anyway and everyone hates him. They label him a fraud and Chanticleer runs away from the farm. Again it reminds of me Elvis' beginnings where even though he liked singing and never claimed to be bigger than he was, he was heavily judged by his peers.

In a very weird twist, this movie isn't entirely animated. In fact I have no idea if this is a real story since this is now being narrated by a live action mother. I guess this is where Who Framed Roger Rabbit meets Wizard of Oz as the lines of what reality is supposed to be is blurred. We still get the disembodied narration over the live action scenes. I guess it's supposed to explain that this is all Edmond's imagination as the real life storm rages but again I have no idea.

The storm scene is tense since I'm sure a lot of farmers can relate to the real world struggles of potential flooding. The addition of the Grand Duke meeting the live action Edmond is also understandably scary if you're a child. The Grand Duke is no longer just a fictional character but also someone who could exist in this world. In fact him saying he despises rock and roll is a parallel to how Elvis had so many sophisticated people criticize his type of music. They viewed it as something that was loud and obnoxious.

So to transition back to animation, the Grand Duke transforms Edmond into an animated kitten. Because he had full intentions of eating him, I guess it makes sense within the story. Edmond of course freaks out about this since he's basically a 5 year old. With the help of Patoo, an old hound dog who I guess is the narrator, they scare the Grand Duke off. I do admit that if it isn't for subtitles I wouldn't be able to understand a word this kid says. I get that they needed a child for this role, but it's a double edged sword to try to be as realistic as possible. Edmond is written to be a little kid so it's a step up from contemporary movies that try to make kids talk like adults. The problem is that he doesn't have much of a personality outside of being a cutesy kid who's very hard to understand.

We get introduced to the other animals on Chanticleer's farm. Everyone's afraid of the rain and the Grand Duke so they need help to find Chanticleer in the city. Before they can set off on their journey, Edmond's room starts to flood. The main characters manage to find a toy box to float their way out. I have no idea why Chanticleer is the solution since he was already revealed to have no effect on the sun rise. Maybe it's meant to be symbolic where him leaving eventually lead to everything going wrong, so bringing him back could lead to things getting better. Or it could be very literal where the animals saw him as a leader, so him leaving meant no one was strong enough to stand up to the Grand Duke.

I like the organ music. It gives a unique style to the traditional villain song. It adds to the Grand Duke's character of preferring classical music over "lowbrow" genres. Since Chanticleer apparently is the only way the rain will stop, the Grand Duke has plans on making sure he never comes back to the farm. So he sends his henchmen and his nephew out to find Edmond et al.

I got to admit, I like how tension is made because of character flaws that naturally exist. For instance, the toy box the main characters are in is starting to flood because Snipes is claustrophobic. To try to get air, he starts to peck holes in the box, allowing water to rush inside. Even though they survive that, the box just as quickly gets destroyed when it pops out of the aqueduct pipe. Fortunately they make it to the city safely.

When the Grand Duke's nephew comes back to tell him the news, he's not happy. Turns out the "adequate" pipe was really a pipe that sends water right to the city. So he sends his nephew to the city, giving him sunglasses in the process.

The main characters start their search for Chanticleer and it's very obvious this is all a reference to Elvis' stint in Vegas. Heck they even show him in a pink Cadillac with his stage name being "The King". That's when the gang realize that Chanticleer was hiding right under their noses so they go to his show.

If this scene doesn't make it anymore obvious that this is Elvis, I don't know what to say. They make it a point to give him a harsh manager. Anyone who knows about the Colonel could tell that Chanticleer's manager is meant to be him. Heck Chanticleer even uses the cliche "thank you, thank you very much."

Even though Chanticleer isn't the main character, you can't help but feel bad for him. Despite being at the top of the world and having the world in his hands, Chanticleer feels lonely. That's something we know Elvis struggled with himself according to private conversations with various people he knew.

The Grand Duke contacts his manager and makes it clear that the main characters can't succeed in their plan. Despite following Chanticleer from show to show, they couldn't contact him. This is the most Elvis reference to have ever Elvised. When the average person thinks about Elvis this is what they see. It also doesn't help that his music number references Tupelo, his real life birthplace. Even the song sounds like something that Elvis would sing.

They succeed to give Chanticleer their letter, but it's all for nothing as Goldie is sent on stage. She kisses Chanticleer and that's all she wrote. He falls in love with her and completely forgets about the letter. I don't hate Goldie for doing this since she does have issues with manipulating Chanticleer. Also it's usually bad taste to blame a young starlet for doing favors to appease a man of power in exchange for a possible advancement in career. Goldie's involvement in this plot if anything reminds me of Ann Margaret. Ann Margaret and Elvis had undeniable chemistry in the mega hit movie, Viva Las Vegas. Even though their relationship in real life isn't at all like how it's portrayed in this movie, you understand that this is meant to be a play on Ann Margaret. She's the young starlet that really takes off once she got involved with Elvis/Chanticleer.

They eventually find Chanticleer or rather Goldie's trailer at the movie studio. Despite Edmond trying to explain the situation, Goldie doesn't believe him and screams. This seems to alert Chanticleer's manager as the main characters get trapped. Don't ask me how a mouse could possibly be trapped by a net with giant holes in it. Heck she literally has most of her body out of it just to sneer. I get they needed to capture all of them, but it's still an annoying aspect of cartoons where a character is trapped despite having the means to escape relatively easily.

Seeing Goldie regret what happened is exactly why I don't blame her. Once she saw the full story, she knew this was terrible for Chanticleer. We get a comedic scene of the Grand Duke's nephew trying to take out the gang while Goldie tries to tell Chanticleer what happened. She gives him the letter and I'm glad we don't have this dramatic irony last too long.

I'm also glad that Chanticleer is fully aware that he isn't powerless in this situation. He knows that what his manager is doing is blackmail and understands he has to game the system long enough to make a plan. In fact, it doesn't take him long at all to figure out how to break them free. It's honestly incredible how Chanticleer was able to understand the toxic environment he was in and was able to get out of it.

Edmond's finally given something important to do as he has to act as the get away driver. No idea why they couldn't have Patoo do this since he's bigger and it doesn't matter anyway since Edmond's quickly taken off the wheel when Peepers tries to reconnect the trailer to the car. Edmond has this flashback sequence where he realizes he can't be afraid.

Despite this being a cartoon, you feel the tension when the gang's stuck on that water tower. Just as they're about to fall to their deaths, Peepers saves them. I have no idea how she managed to get access to that helicopter and time it exactly right but we'll just call it a Deus Ex Peepina.

Meanwhile, the Grand Duke finds the farm animals with the full intent of eating them. Somehow a pig is smaller than an owl but whatever, the Grand Duke's magic. Fortunately for the animals, Edmond and the gang make it in time. Unfortunately, the helicopter crashes in the water forcing them to get stranded on island of grass.

Even though Chanticleer tries to crow he can't. Somehow it's because he has no confidence. Yeah that's a bit contrived. They should've just had it where the Grand Duke used his magic to prevent him from crowing. But Edmond interferes causing the Grand Duke to literally choke him unconscious. That's insanely dark for a relatively harmless kids movie. Like the Grand Duke by himself is menacing but watching him choke a kid is wild.

In fact it's what's actually his undoing. The animals see his act of violence and encourage Chanticleer to crow. The Grand Duke turns into a literal cyclone but because Chanticleer now has confidence, he crows. The sunlight causes the Grand Duke to lose his powers. I know it's something he's afraid of but causing him to shrink? Yeah the magic makes no sense in this movie. We get the fake out of Edmond dying but no. He just turns back into a real boy. But even then we get yet another twist. It was apparently all a dream.

In the live action world, everyone thinks it was just a fictional story. That Chanticleer had nothing to do with it. I don't know what happened with the audio, but there's a weird sound to it that makes me think it's an echo. The mom assures Edmond it was just a dream, but I'm just not sure. We see a live action Edmond interact with the cartoon farm animals. It's obvious this is meant to be like Who Framed Roger Rabbit. Unlike that movie, Edmond is obviously superimposed on the animated footage. I think they're trying to show that this really is Edmond's imagination, but I have no idea.

At least the reprise of the opening song is just as good. In fact all the songs are pretty decent. Chanticleer's songs in particular are pretty entertaining and really respect Elvis' sound. Chanticleer in general is a good tribute to Elvis. He's not meant to be a joke as when he was made fun of, we're supposed to feel bad for him. He gives kids a good introduction of elements from Elvis' life. It isn't at all meant to be biographically accurate, but it's a kid friendly way of explaining the struggles he faced.

Compared to other bad kids movies, this film has actual merit. Being based on a fable gives it some credit as it's a unique story. I can also say that this movie is not at all predictable. While it does take elements from Wizard of Oz by trying to spin it as being only a dream, the movie does blur the line of reality. Was it a dream? I have no idea. That at least makes it a step above modern kids movies where you know exactly what's going to happen and doesn't try to give you something beyond the bare bone cliched characters and plot elements.

Did it deserve all the hate? Not really. It's underwhelming sure, but again compared to the content we have now directed towards children, this is harmless. As someone with no childhood attachment to this movie, I actually thought it was pretty enjoyable. If you're an Elvis fan, I would recommend watching it just to see how many parallels exist. Even if you're not an Elvis fan, it's still worth showing it to children. It's innocent fun that isn't pandering or relying on the cliched potty humor that seems to be copy pasted into a lot of children movies. Therefore, I'm giving this movie a 7/10 since it doesn't blow me away by any means but it also isn't an abomination with terrible jokes that make the audience feel uncomfortable.

AN: Shout out to the discord besties for watching this movie with me and suggesting I make a review.

Tagging: @hooked-on-elvis, and @atleastpleasetelephone.

#non elvis movie #rock a doodle #animation #animated movies

[sounwise]

DAYTRIPPIN’: Let’s address the reputation Paul McCartney had at the time for treating members of Wings like “sidemen,” a charge that was leveled by other Wings members and played up quite a bit in the 1970s. JUBER: A sideman is typically a musician that is hired to play a role on stage and/or in the studio. For me specifically, to deliver a guitar solo, some groove and texture, a cool rhythm guitar part or whatever was appropriate. For example during the Back to the Egg period, as well as playing the obvious lead guitar stuff, I played bass guitar on “Love Awake,” slide acoustic on “After the Ball,” the Flamenco lead acoustic solo on “Goodnight Tonight.” So yes, I was a sideman, but the job assignment very much included considering myself a part of the band. I’m a bit of a chameleon stylistically and I think that I got the gig because I could play the bluesy lead stuff, but also other styles like the jazzy intro on “Baby’s Request.” What’s on the recordings represents the creative opportunities that Paul afforded me and he gave me a lot of leeway. The only times he ever told me what to specifically play was when he had a particular lick, like on “Daytime Nighttime Suffering.” Addressing the question in financial terms it was still a ‘work for hire’ and a reasonable improvement from what I was making as a studio musician. I’ve never had any complaints about the financial end of the arrangement. Early on, Paul had a bit of a reputation for not paying his bandmates well. This really goes back to when Wings first started and Paul had limited cash flow. There were financial issues because of the way the Beatles broke up and it took a while for those to be solved. Part of it was also Paul’s idea of creating Wings essentially from scratch. When the band first started, Paul told me that he [basically only] had an office and a phone, and got to work. I think he wanted to know the basic functions of the business end before he would hand it over to someone else. So basically the attitude was, “This is a small band and we’re going to get in a bus and go to a college and play at lunch time and share whatever money goes into the hat.” It’s a nice utopian kind of vision, but it became hard on the other guys as time wore on and didn’t quite fit with the fact that Paul was a still a megastar. By the time I joined the band things had changed, although the ‘esprit de corps’ was still there. In all its incarnations Wings sounded like a band, not like a solo McCartney project and I think that reflects well not only on Paul’s ability to share in the creative process, but also on the importance of Denny and Linda’s contributions, too. The other players brought their own personalities to the scene.

[—from “Exclusive: Ex-Wings guitarist, Laurence Juber, talks about having Paul McCartney as a boss” in Daytrippin’ Beatles Magazine (October 15, 2010)]

#man this is just Such a good and interesting interview there are too many sections worth quoting #paul mccartney and wings #wings #laurence juber #paul mccartney #daytrippin' beatles magazine #also: i too am shocked to learn that the bass line on 'arrow through me' was done on the electric piano #boy do i ever have opinions about back to the egg and how plainly not one paul biographer EVER has been a devotee of '80s hard rock #@sounes @salewicz @doyle: at least 1/3 of this album sounds like it belongs in ~1983!!! #you go listen to Eliminator + Pyromania and then tell me again how this album from /1979/ was a failed effort to get with the times #'overworked' 'bombast' the words you are looking for are 'not to my personal taste' actually #you boring bastards.

[greenorangevioletgrass]

God, I know nothing about music references and all of that but Classified gotta be one of the best things I’ve read recently, dear god that was just too good and I am SO FREAKING GLAD to see you are doing more for them 💜

So I will put myself out here fully believing lots of other people have already asked for this prompt but Elton John - Take Me To The Pilot sounds amazing! Thank you and you are amazing ✨🥰

Ahhh thank you so much! I’m glad that y’all are down for more so im not alone in this hyperfixation echo chamber 🤣 and don’t worry about it! I love this song and i was hoping someone would send it in! This is actually a cut scene from Classified pt. 2. Hope you enjoy it!

Warnings: gratuitous piano bar scene, mentions of sex, tensions galore, fanboy is perceptive and oblivious at the same time lol

That night, the production is holding a get-together at the Hard Deck —a last hurrah for the crew and the local naval support before the shoot moves to Whidbey Island. And as you walk through the threshold, you hear a bluesy piano being played among the chatters and the clinks of beer bottles and clacks of a game of pool.

You don’t recognize the song —it might just be any random riff—, but you would recognize the Hawaiian shirt on his back, the way his muscles ripple underneath the fabric. The way his fingers dance on the black and white keys. And as you finally see his profile, the sunglasses perched dangerously, comically low on his nose.

“Fancy seeing you here.” You come up and rest your arm on the top of the upright piano.

Rooster smiles before he even looks up at you —and no, it doesn’t give you butterflies. “I could say the same about you.”

“Nah, I think you’re just on my general territory, Roo-Roo.”

He frowns dubiously for two reasons; first, the nickname, and second, your outrageous claim to his corner. His bar. His station. “Since when is—“

“I meant the piano,” you clarify. Then, eyeing the long bench he’s occupying, “May I?”

“Be my guest.” He scoots over. The bench isn’t as spacious as it looks, and your leg is pressed flush against his as you give the piano a go. Feeling the ivories resist and give way under your fingertips. “So what are we playing?”

The ‘we’ is not lost on you, and you could ignore it… or own it. Everyone seems to be in their own little world, and you’re feeling bold somehow. Maybe it’s because everyone is finally off-the-clock… or maybe, just maybe, it’s the place. The man. The nostalgia. It makes you bold.

“How do we feel…” you play some random chords thoughtfully, “...about Elton John?”

“Love him.”

“Mm. I think I got the perfect song.”

“Oh?”

You play a bright, soulful intro as an answer. Rooster chuckles, recognizing the song right away, murmuring about a corny choice. But you sing anyway with your whole chest,

“If you feel that is real, I’m on trial. And I’m here, yeah, in your prison!”

Some of the crowd whoop and cheer, raising their bottles in your direction.

You reach over to play the lower notes, but your fingers brush against him. He’s already there, continuing the song and joining you, his voice warm with a slight silvery rasp that makes him oh so endearing. “Through a glass eye, your throne is the one danger zone. Take me to the pilot for control,” he sings. “Everybody!”

“Take me to the pilot of your soul!” nearly the entire bar sings back to you.

Take me to the pilot / Lead me through the chamber / Take me to the pilot / I am but a stranger

You try not to think about the inevitability of this ridiculous man taking you home and murmuring something about making you sing some more, as he grabs a handful of your ass under your dress. You’d laugh and roll your eyes, but you’d let him anyway. You’d gladly sing to high heavens for him.

But that comes later. Right now, you’re surrounded by cast and crew and naval support singing along around the piano, and even from different corners of the bar. And if he gently nudges you with his arm, you pretend it’s to cue the big finish.

The bar erupts in cheers and whoops as the two of you riff up and down the piano. And amidst the crowd, Fanboy casually remarks,

“You guys are pretty much drift compatible, you know that? It’s adorable.”

You simply shrug, deciding that the best course is to play dumb. Rooster seems to agree, lifting his hand up. You high-five him without looking.

Fanboy laughs and walks off with a shake of his head. Neither of you address what just happened; you just simply intertwine your legs together, drift compatible.

#the actress & the aviator #bradley bradshaw #bradley bradshaw imagine #bradley bradshaw x reader #bradley rooster bradshaw #rooster imagine #rooster x reader #rooster x actress!reader #ava writes

[myhauntedsalem]

THE 27 CLUB

The untimely deaths of famous musicians at age 27 may be coincidence, but it is tragic coincidence. The mythology of the 27 Club gained prominence with the death of Kurt Cobain in 1994 since he died at the same age as iconic rock musicians, including Jimi Hendrix, Janis Joplin and Jim Morrison, when they died in the 1970s. The premature death of Amy Winehouse at age 27 in 2011, again renewed interest in the age's apparent curse. This is a list of some of the artists and musicians who died at the far too young age of 27.

Robert Johnson (1911-1938) Born 100 years ago in rural Mississippi, the blues singer and guitarist Robert Johnson garnered little attention during his lifetime but was rediscovered in the 1960s, influencing numerous rock and roll pioneers. According to legend, Johnson sold his soul to the devil in exchange for his mighty talent, which he demonstrated on street corners throughout the Mississippi Delta and in the 29 songs he recorded between 1936 and 1937. Famously partial to women and whiskey, Johnson was allegedly poisoned by a lover’s jealous boyfriend or husband.

Brian Jones (1942-1969) A founding member of the Rolling Stones along with Mick Jagger and Keith Richards, Brian Jones developed a severe substance abuse problem that by the mid-1960s had taken a toll on his health, landed him in jail and alienated him from his bandmates. He was forced out of the group in June 1969. The following month, Jones was found dead at the bottom of his swimming pool; police reported that he had drowned while under the influence of alcohol and drugs. Recently, new evidence has suggested that foul play may have had a hand in his death at age 27.

Alan “Blind Owl” Wilson (1943-1970) Known as Blind Owl because of his poor vision, Alan Wilson (first on left) headed up the American blues band Canned Heat, which performed at Woodstock in 1969. A songwriter, guitarist and harmonica player, he famously re-taught the aging blues legend Son House, who had been living in obscurity for decades, how to play his own songs. Wilson, who struggled with mental illness and had previously attempted suicide, succumbed to a drug overdose in September 1970, becoming the first of three acclaimed musicians to die at age 27 that year.

Jimi Hendrix (1942-1970) Remembered as one of the greatest electric guitarists in history, Jimi Hendrix revolutionized rock and roll as both an artist and a producer during his brief four-year career. He died in London in September 1970, asphyxiating on his own vomit while sleeping. His girlfriend claimed that Hendrix, a heavy drug user who was particularly fond of LSD, had washed down a handful of sleeping pills with red wine before going to bed.

Janis Joplin (1943-1970) Born in Texas, Janis Joplin won over the San Francisco music scene with her bluesy vocals and powerful stage presence, first as the lead singer of Big Brother and the Holding Company and later as a solo artist. Despite multiple attempts to get clean, she became increasingly addicted to heroin and alcohol as her career skyrocketed. She died of a heroin overdose in October 1970, less than three weeks after the death of fellow rock icon Jimi Hendrix.

Jim Morrison (1943-1971) A poet and avid reader of philosophy, Jim Morrison rose to prominence as the lead singer and lyricist of The Doors, a band he founded with a friend in 1965. By 1969, his drinking had become a problem, making him late for performances and fueling raucous onstage behavior. In July 1971, Morrison died of a heart attack apparently caused by a heroin overdose while living in Paris. It is thought that he mistook the drug for cocaine and snorted a fatal amount.

Ron “Pigpen” McKernan (1945-1973) A founding member of the Grateful Dead, Ron McKernan, who went by the nickname Pigpen, did not share his bandmates’ predilection for LSD and other psychedelic drugs. However, his heavy drinking caused him to develop cirrhosis in 1970, and by 1972 his health had become so fragile he could no longer tour. He died of an internal hemorrhage in March 1973.

Kurt Cobain (1967-1994) An icon of the Seattle grunge scene, Kurt Cobain formed Nirvana with a friend in 1985; the band achieved mainstream success in the early 1990s. Under a glaring public spotlight, Cobain struggled with mental illness, chronic health problems and heroin addiction. He committed suicide in April 1994, leaving behind his wife, the musician Courtney Love, and their baby daughter.

Amy Winehouse (1983-2011) An English singer-songwriter whose powerful voice and unique style won her numerous awards and honors, Amy Winehouse battled drug and alcohol addiction for years. Her substance abuse problems were frequent tabloid fodder and inspired some of her songs, most notably the hit “Rehab.” On July 23, 2011, Winehouse was found dead in her London apartment, becoming the latest musician to have their career cut tragically short at age 27.

#THE 27 CLUB #supernatural #ghost and hauntings #paranormal #ghost and spirits #haunted locations #haunted salem #myhauntedsalem #paranormal phenomena

[liaromancewriter]

∞

Alright. You get "When I need you" by Duffy. I wasn't a fan of hers when she first burst onto the scene, but I've come to appreciate her sultry, bluesy style.

Miles and miles of empty space in between us The telephone can't take the place of your smile But you know I won't be travelin' forever It's cold out, but hold out, and do I like I do When I need you I just close my eyes and I'm with you And all that I so wanna give you It's only a heartbeat away

#ask and answered