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fangirl-hell · 3 years

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🔅 all the fandoms I’m in + the ships I ship 🔅

MARVEL

~ probably my main fandom and the fandom I spend the most time in and have been in the longest

~ by far my favourite fandom

~ joined the fandom before I really knew what a fandom was

Ships MCU:

~ Stucky ( slightly ship it, used to be my OTP BEFORE STEVE WENT AND-)

~ Ironstrange ( I used to ship it more but people move on yk )

~ Thorbruce/gammahammer ( love it. So much chemistry in Thor Ragnorok! )

~ ThorQuill ( it’s cute )

~ Scarletwidow ( I think they would be a cute couple if gay relationships were normalised and they were a bit closer age-wise )

~ Blackhill ( it’s cute. I wrote a Blackhill oneshot once. They would be cute shield-wives <3 )

~ Blackpepper ( Natasha deserves a strong independent woman like Pepper! )

~ Frosthawk ( not proud of this one- but it is one of my OTP’s and first ever ships )

~ Winterhawk ( it’s cute )

~ Hawkdevil ( god bless shipping wiki for introducing this to me. I love the deaf/Blind dynamic there )

~ Hawkant ( the family men <3 )

~ Lokius ( they r so gay- )

~ Frostmaster ( don’t really ship it I just think they did it )

~ sambucky/winterfalcon ( rollin’ in a field of flowers~~ )

~ Hawksilver ( HOW COULD I ALMOST FORGET THE ONE I SPENT HOURS LOOKING AT TUMBLR POSTS ABOUT- )

~ Parley/Parkner ( it could be romantic or brotherly- I know that sounds weird but it’s like how Hawksilver could be father and son or romantic and I don’t mind it either way )

~ Shuri/MJ ( I swear it was one fic- )

~ Valcarol ( still have hope for my gay space girls <3 )

~ Drax/Mantis ( AHA!! A STRAIGHT ONE! I ship this one on a strict platonically romantic basis tho- )

X-Men:

~ Cherik ( 😫 CuBa BeAcH dIvOrCe || PaRiS cHeSs PrOpOsAl 😫 )

~ Scogan ( in the original universe, alt reality Scott is 2 young )

~ Kurt/Peter

~ Scott/Peter

~ Bobby/Pyro ( gay )

The Gifted:

Lorna/Marcus ( THE CHERIK PARALLELS ARE INTENSE )

Runaways:

Gert/Karolina ( ik….I’m being selfish. I can’t be happy with Karolina and Nico being gay 4 eachother )

Alex/Darius’s sister in-law

MCYT FANDOM:

~ been in it for the second least amount of time

~ I like it but not unconditionally

Ships:

~Dreamnotfound ( a classic- can u blame me? )

~Dreamnap ( aNd ThEy WeRe RoOmMaTeS )

~ Sapnotfound

~ Sapnottaken?

~ Karlnapity ( OT3 )

~ Sapity/Quacknap ( adorable. )

~ Karlnap

MHA:

~ Totally forgot I was ever in this one

~ quite watching it when it made me watch it in Japanese

~ in and out

Ships:

~ BakuDeku ( classic! Only one-sided though or one side w/ acceptance and the other with strong denial )

MAZE RUNNER:

~ loosely in the fandom

~ mostly there for one ship

Ships:

~ Newtmas ( god bless my random YouTube recommendations )

SOUTH PARK:

~ admittedly I was kinda obsessed with this one for a while!

~ Kenny

~ I was 11 when I got into the fandom so this is worrying

Ships:

~ Crenny ( adorable dumbasses. Limited fics though…)

~ Style ( they were gay. Gay in a slightly homophobic but also anti-homophobic way )

~ Tyde ( cute. They obviously had their gay awakening when Craig started dating guys. They were like: “oh shit- if our mutual bestie is gay- are we gay?” And then: “are we gay 4 eachother?? )

~ Butters/Scott Malkinson ( the badass softies <3 )

~ Christopher/Gregory ( don’t question me )

~ Michael/Pete ( gay, goth and gender-non-conforming )

~ Bendy ( they’re both basic bitches ofc they deserve eachother )

~ Cryde ( cute )

~ Stylenny

~ Creek ( I don’t really ship this one but it’s not bad. They are a cute couple and they’re canon! )

IT:

~ almost forgot this one aaahahaha

~ luv it

~ make horror gay 🌈

Ships:

~ Reddie ( YESSSS YESSS YESSS I MEAN JUST YESSS- SHIPPING WIKI SAID SEMI-CANON )

~ Stenbrough ( they would be cute lol )

~ Benverly ( get outta here with that Billverly crap- I mean....Bev is pretty but she was a bit annoying. She depended on a man all the time it was infuriating)

STRANGER THINGS:

~ again! Forgot this one!

~ i didn’t know what the hype was about till I watched it

Ships:

~Max/El ( gay girls go shopping 🛍)

~ Mike/Will ( I mean they’re a little eh but it’s a good ship! )

~ Dustin/That Girl from Utah ( they were kind of cute yk )

~ Steve/Jonathan ( jk jk jk....unless? )

~ Nancy/Jonathan

BONUS FOR THAT ONE IT/STRANGER THINGS CROSSOVER FIC IM READING:

~Max/Bev

~ El/Bev

~ Stan & El are siblings

That fic is called “The Losers Party” it’s on ao3

It’s by: WhelmedBirdie_319 and it’s fvcking awesome

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al-peachyo · 5 years

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sooo winter break is over in t minus 7 days and im 🅱️anicking on top of sending a very anxiety inducing email to my advisor today that I will now be checking a response for constantly for the next 72 hours, I decided that one of my most ingenious coping mechanism has recently become typing all my ridiculous headcanons so im high and ready to rock and roll

these are mostly creek related because I’m a filthy fucking creek lover but maybe I’ll throw in some other characters too if my brain is fast enough (ok I wrot e a good chuck of them yesterday but I’m stupid and forgot to save THE DRAFT so they all gone so let’s hope I remember):

Tweek definitely is a gender neutral character for me, he likes to dance on the line of femme and masc when speaking on fashion or appearance terms

Getting older he just starts to give no an absolute fuck about how he dressed, which resulted in a lot of outfits that crocs DO NOT go with

On top of that he’s gotten pretty okay at doing eyeliner and mascara but that’s all he really knows how to do without massacring his eyes and face

Bebe does his makeup whenever he wants (or when she wants) because she loves tweeks eyes and claims “he has a lot of eyelid real estate” whatever the god damn hell that means

So she makes him her practice canvas

Bebe is an amateur but pretty amazing MUA with a whole buncha ig follows we luv her

But other than that tweek does not put the makeup effort in that much because it takes a lot of times due to shakey hands

ANYWAYS

one of my FAVORITE headcanons I’ve seen in fanfics and art is everyone dressing tweek in some form of an army green like trench coat, winderbreaker, dingy jacket thing and its THE BEST it just exerts grunge hot mess energy that I adore so much

Tweeks fashion sense is very much inspired but the 90s grunge scene (one of his favorite bands is garbage) so there’s lots of ripped up jeans, oversized crew necks, ugly green jacket that has a few pins scattered across the front and whenever someone ask about what they mean he’s like....”bitch idk”

He’s like the penguins at the zoo the best and when they were little whenever him and craig would visit the zoo tweek would get excited and tell craig his dreams of becoming a vet at the zoo or for a conservation program

He really has always loved animals and the fact that he was never allowed to have one did not affect that love

Once he finally owns his own place he takes the stray cat that hangs in his backyard and takes her with him, her name is blueberry

And soon he adopts another cat named strawberry along with ANOTHER cat named beans (Craig’s choice)

Craig calls the cat trio a fucked up fruit salad

Whenever Craig is just be flat out annoying tweek threatens to cut his own bangs with kitchen scissors like give himself straight across bangs and one time craig questions the legitimacy of the threat and the next second tweek is sitting in the middle of his room angry with a fucked up sabrina the teenage witch hairdo that takes 3 months to grow out

Craig laughed for a good 5 minutes before helping tweek style his hair in a decent manner

#ok this is getting too long #and annoying #my advisor still hasnt emailed me back #its been 3 days #south park #tweek tweak #craig tucker #bebe stevens #sp creek

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yasbxxgie · 6 years

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On January 30th, 1973, only six months after the break-in at the Democratic National Committee headquarters in the Watergate office complex, five men were tried and convicted of conspiracy, burglary and violation of federal wiretapping laws. That, of course, was not the end of the matter, as the trail lead directly to President Nixon himself. That same January, veteran soul and R&B singer Roy C. Hammond released a politically charged 45 called “Impeach The President,” a rock-solid drum workout with a funky guitar riff that perfectly captured the zeitgeist. He might have seen the writing on the wall for Nixon, but little did he know that the first four bars of the song were destined to become an iconic hip-hop drum loop, sampled in over 696 songs.

The slew of ’80s and ’90s hits built upon “Impeach” reads like a list of rap classics – MC Shan’s “The Bridge,” Audio Two’s “Top Billin’,” “Jump” by Kriss Kross, “The Rebirth of Slick (Cool Like That)” by Digable Planets, “I Get Around” by 2Pac and “Unbelievable” by Biggie Smalls, to name just a few. Even dance and pop acts from Soul II Soul to Janet Jackson have utilized that song’s boom-bap, and you know a beat is special when master lyricists like Chuck D. (“Rebel Without A Pause”) and GZA (“As High as Wu Tang Get”) reference it in their rhymes. The making of “Impeach The President” and its enduring influence not only illuminates an important chapter of hip-hop history, but it also provides yet another familiar tale in the perpetual struggle of artists to get fairly compensated for their work.

Known for such hits as “Shotgun Wedding” (Blackhawk Records, 1965) and “Don’t Blame The Man” (Mercury, 1973), Hammond cut “Impeach The President” with a bunch of all–black high school musicians from Jamaica, Queens whom he dubbed The Honey Drippers. He doesn’t even remember the drummer’s name now, but says, “I had to spend many hours with him after school, but he turned out to be pretty good.” Recorded at Broadway Recording Studios in Manhattan – in the same building that currently houses the Ed Sullivan Theater – “Impeach The President” was too controversial for Mercury, to which Hammond was signed at the time, so he released it on his own imprint, Alaga Records. Without the promotional power of a major behind it, it went on to sell only a few thousand copies and was relegated to the stacks of obscure funk 45s.

Flash forward to the T-Connection, a popular hip-hop club on Gunhill Road in the North Bronx. In 1980, Aaron Fuchs, the founder of hip-hop label Tuff City Records and one of the early journalists to write about hip-hop, was the guest of Bronx DJ Afrika Bambaataa. “When you see a guy coming to a gig with a little laptop and you remember what it was like to see Bambaataa and his posse come to a gig with four or five guys carrying crates of records behind him, it was very tribal, man, a whole ’nother experience – very post-gang,” says Fuchs, now 69. “He [Bam] showed me the extraordinary respect of letting me see his records,” he continues, and “even with certain stuff scratched out, I knew enough about music and its history to fill in the blanks.” Among a record collection that Fuchs calls,“the most expansive panoply of the musics that nurtured hip-hop,” he identified a 45 of “Impeach The President,” with Alaga Records’ trademark red and yellow label.

“‘Impeach’ was cultish,” says Fuchs, “It kind of separated record purchasers from crate-diggers.” Always trawling through the lists of distributors’ cutouts, he managed to score a 50-count box of “Impeach The President” for the bargain price of 25 cents a copy. “What I did was, if I’d go to the Roxy and I had a new record for Afrika Islam, I’d throw in a couple copies of ‘Impeach,’” says Fuchs. “I never got into or was able to get into greasing people or paying people off, but I could really live with using that type of stuff as currency.”

Based in Long Island City at the time, Fuchs started working with a young, up-and-coming DJ/producer from the nearby Queensbridge projects named Marlon Williams AKA Marley Marl, one half of the very first commercial rap radio show, Mr. Magic’s Rap Attack, on New York’s WBLS-FM. Also an intern at Unique Studios in Manhattan, Marley was just cutting his teeth on production and had a small set-up in his sister’s apartment in the projects that included a four-track, a Roland TR-808 drum machine and two SDD-2000 sampling digital delays by Korg. In 1984, Marley would produce a track for Tuff City artist Spoonie Gee called “Take It Off.” Interviewed by Dubspot in 2013, he recalls, “Fuchs said, ‘Here, I can’t pay you for this Spoonie Gee session, but you can take this pile of records.’ In that pile was “Impeach The President.”

According to Fuchs, “Marley was voracious, and as soon as I gave him something, it was used one way or another.”

Marley went on to sample the Honey Drippers’ kick and snare (with accompanying ghost notes) to each of his SDD-2000s, adding a hi-hat and a kick from the 808 to bolster the sampled kick. He shaped a hook by sampling a reverbed horn fanfare from The Magic Disco Machine’s 1975 record “Scratchin’,” and reversed it to play backwards so it sounded like a stab of pure noise. Finally, he brought in his cousin Shawn Moltke AKA MC Shan to christen the track with lyrics.

“The track ‘The Bridge’ was made not to be a record. It was made as intermission music for the Queensbridge festival that we had in Queensbridge Park in 1984,” Marley says. “Now the first time the track played everybody’s heads turned. Everybody was like, ‘Wow, it’s a song about Queensbridge.’ Everybody was like, ‘Play it again, play it again.’ It was so popular that day that we played it in the park, one of my nephews took the tape and spread it around Queensbridge. Everybody in Queensbridge had a copy of that song and it wasn’t a record yet. I had to do something about that.”

Though “The Bridge” was made in 1984, it only saw the light of day as a release in 1986 on Bridge Records, becoming an instant classic. Marley, who helmed a crew of now legendary artists known as the Juice Crew – featuring Shan, Biz Markie, Big Daddy Kane, Roxanne Shante, Craig G. and Masta Ace – went on to use the “Impeach” beat on many subsequent productions, including such certified rap hits as 1986’s “Eric B. Is President” by Eric B. & Rakim and 1986’s “Make The Music With Your Mouth, Biz” by Biz Markie. He even accidentally handed the beat over to the competition when BDP made “The Bridge Is Over” the following year.

“The funny story about ‘The Bridge is Over’ is that I had met BDP for the first time at Power Play studios when they was playing their demos for Mr. Magic,” says Marley. “So he went into the room, the music was very loud. He did not like it at all, so it got really, really heated. In the rush to vacate the studio, I forgot my famous drum reel with all my drum sounds on ’em. Fast forward, I’m listening to the radio and I hear this song called “The Bridge Is Over” utilizing my drum sounds. I was like ‘Yo! That sounds like my drum sounds. Who’s that?’ ‘That’s them kids that Magic dissed in the studio the other day.’”

By the time “Impeach The President” appeared on the DJ-friendly Ultimate Breaks & Beats series – Volume 11, released in 1987, to be exact – the cat was out of the bag, and that break was on its way to becoming a standard building block for rap tracks. In that year alone, it was used in “I Got An Attitude” by Antoinette, Dana Dane’s “Dana Dane With The Fame,” Cool C’s “Juice Crew Dis” and Audio Two’s mega-hit “Top Billin’.” Fuchs even took his own stab at a version, getting Spoonie Gee to drop some lyrics on a track called “You Ain’t Just A Fool, You’s An Old Fool.”

Ironically, Fuchs decided to go after his old buddy Marley, who had produced two hits from LL Cool J’s comeback album on Def Jam, Mama Said Knock You Out, in 1990. “Around The Way Girl” and “Six Minutes of Pleasure” both used elements of “Impeach The President,” to which Fuchs claimed to own the rights in a New York Times piece on April 21, 1992. He eventually settled out of court with Def Jam for what he describes as “low to mid-five figures.” Of course, these were not the only songs at the time that sampled “Impeach,” and Fuchs went after other artists and labels as well. “There were some lawsuits that had to be filed,” as he puts it, “but eventually it got to a point where it became business as usual.”

During this time, Roy C. Hammond had moved down to Allendale, South Carolina, where he currently runs a record shop. One day while listening to the radio, he heard the song, “Luv Me, Luv Me” by Shaggy and Janet Jackson, a cut from the How Stella Got Her Groove Back soundtrack that was released in 1998. He immediately recognized his own song in the mix, and after doing some calling around was able to track down Fuchs, who had authorized its use in the movie. It turns out the two had met back in 1968 when Hammond was singing tenor in The Genies, a doo-wop group, and Fuchs was a young reporter for Billboard and Cashbox.

“He said, ‘Look, I’m trying to make you some money.’” recalls Hammond, 77, of their reunion 30 years later. “I said, ‘Hell, you should have got in touch with me.’ He had it listed with ASCAP and I’m a BMI writer, so I went over and questioned them about it, and they took it out of there immediately.” It still means that from 1990 through 1998, Fuchs was profiting off “Impeach” without even trying to track down Hammond.

“And he was tellin’ me how much money I was going to make,” Hammond continues, with Fuchs eventually persuading Hammond to sign a five-year licensing deal for the track. Fuchs sealed the deal with a $500 check that apparently bounced.

But Fuchs tells a different story. “You know what’s crazy?” he says, “I never made a deal specifically for ‘Impeach.’ I do all kinds of reissues if you look at my catalog. I put stuff out from the ’40s to the ’80s, you know? And I actually put out a Roy C. album. He had had two albums on Mercury – one was called Sex and Soul and the second album was called More Sex and Soul. And then he had a bunch of stuff he had done independently. So, you know, I had a few things by him and that was one of them.”

“I didn’t authorize none of that,” Hammond maintains. “After he got a contract to license it [‘Impeach’] for five years to give it out to different people for beats, he was supposed to pay me, and he didn’t pay me.” Ask Fuchs, however, and Hammond profited, “hugely.”

Hammond has since taken Fuchs to court several times but hasn’t been able to receive the compensation he says he deserves, and puts it down to the failings of his lawyers, of which he’s gone through several. “The one in New York asked him [Fuchs] for half a million dollars or something, and we wind up getting $100,000,” he says. “And the most I got was $40,000 after lawyers fees.” That was ten years ago. “Just a few months ago,” Hammond adds, “I talked to this attorney and after that Fuchs sent me $32,500. Now that’s the biggest I ever got from him.”

But he is not bitter in the least. “I feel great that I contributed something [to hip-hop]” says Hammond. “But I’m still going to fight this guy, and I’m going to find a good lawyer that’s going to be honest and bring this thing in front of a jury.”

Editors’ Note: Following the publication of this story, RBMA Daily received an email from Aaron Fuchs, the president of Tuff City Records, contesting Marley Marl and Roy C. Hammond’s claims. Fuchs denies Marley Marl’s claim of nonpayment for the recording session of Spoonie Gee’s “Take It Off.” He also contests Marl’s quote from the Dubspot interview regarding a “pile of records,” stating that “I have never offered any DJ or producer ‘a pile of records,’ but rather specific records that I curated and deemed to be of value either to their production needs or fund of knowledge.”

Fuchs also states that Marley Marl was not named as an individual in his 1992 lawsuit against Def Jam, which was filed in response to the label’s release of songs produced by Marl on LL Cool J’s Mama Said Knock You Out LP. Furthermore, Fuchs states that agreements made with Hammond prior to 1998 were accompanied by advances, and seeks to clarify that “No check I ever wrote to Hammond or any other artist has ever bounced.”

#rbma #red bull music academy daily #the honey drippers #impeach the president #roy c. hammond #roy c hammond #the bridge #the bridge is over #marley marl #boogie down productions #bdp #sampling #ultimate breaks & beats #aaron fuchs #music #black music #richard nixon

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