#refers to school finally sorting out video lessons

[tennessoui]

"I'm not wearing that" for the prompt game?

hello :D this is the third and i think final "i'm not wearing that" prompt!! this is set in the TA au--professor skywalker fills in for professor koon's lessons for a semester as koon takes paternity leave. obi-wan had been chosen to TA koon's classes. that's what he'd mentally prepared for. he had under no circumstances prepared for TAing for Professor Skywalker. But at least Professor Skywalker also was not prepared at all for having a cute little TA like obi-wan kenobi either.

(1.2k) (just a hint of NSFW) (set about a year after they get together)

(references this snippet a few times)

Obi-Wan’s first instinct is to laugh. “I’m not wearing that.”

Quinlan Vos raises a very unimpressed eyebrow. “Yes, you are. I already took the tag off. I can’t return it now! And I paid good money for it. Real people money, Obi-Wan.”

“I’m not responsible for your poor spending choices,” Obi-Wan replies, crossing his arms over his chest. “You can’t guilt me into wearing that.”

Quin smirks, raising his other eyebrow as well. “I don’t know about that.”

“Impossible,” Obi-Wan reiterates, turning away and back to his phone. He’d been in the middle of texting Anakin, and his boyfriend doesn’t like being ignored for long. 

“Remember last Halloween?” Quin asks. “When you lied to me and ditched me in order to flirt with your professor while I, clueless and innocent, cheered you on from the sidelines?”

Obi-Wan flushes and refuses to look up. “Be that as it may—”

“Remember when you apologized? And told me that you ‘owed me one’?”

“I do not remember that,” Obi-Wan protests, because he knows where this is going. He sits up on Quin’s couch and glares at him. “Like I would ever leave you with an open-ended promise like that. I’ve known you way too long.”

“Ah, but I’ve known you just as long,” Quin wags his finger, and before Obi-Wan can tell him that yes, he has, that’s sort of how these things work, he has pulled a crumpled napkin from his pocket. “I got you drunk and made you write it down so you couldn’t renege on your promise.”

Obi-Wan jumps to his feet and grabs the napkin out of his hand to look at it. He has absolutely no memory of this. “I have absolutely no memory of this.”

“It was the night I took you out and you spent the whole time talking about your super hot professor and whining about how in love with him you were,” Quin says helpfully. “Don’t worry, I only took one video.”

“You—”

“But the important thing is,” Quin emphasizes, waving the napkin around. “You were very quite sorry for tricking your best friend so very cruelly. And now, you owe me one. And I’ve decided what I want from you.”

“No way, come on Quin,” Obi-Wan says. He wishes he could go back to freshman year and tell his younger self to absolutely not engage with Quinlan Vos at all. He can’t believe Quin had kept that bar napkin for almost an entire year, but at the same time he absolutely can. “Can I just give you a blow job instead?”

“Now, now, Obi-Wan. That would be in complete violation of B—”

“Yes, yes, fuck you, yes, the Best Friends Forever No Below The Belt Touching. I remember.”

“And I’d have to tell your professor boyfriend. Who would totally, like. Fail me.”

Obi-Wan puts his head in his hands. “He doesn’t even teach at our school anymore, you know that. You make it sound worse than it is.”

“Of course I do, you made out with your professor while TAing for his class. And then you told me about it. That’s like. The worst thing I’ve ever seen you do. I’m going to relish in it for years. I will never let it go, even if you and your professor boyfriend break up.”

Anakin has been not so subtly hinting at marriage, actually, but Obi-Wan decidedly does not want to tell Quin that.

“The idea of wearing that costume out in public for Halloweekend makes me genuinely uncomfortable, and as my friend I want you to respect that boundary,” he tries, pouting for emphasis.

Quinlan narrows his eyes at him consideringly, before snapping his fingers and grinning at him. “Damn, that was convincing. Almost had me for a second! But nope. You’re wearing this, and you better hurry up and shave for the part, we need to go soon. I left razor and cream on the counter for you.”

Blast.

With a filthy look in Quin’s direction, he snatches the costume from his hands and storms into the bathroom, slamming the door as loudly as he can behind him.

Are you sure you can’t make it up for Halloween? He texts Anakin while he’s waiting for the water to warm up. 

It’s a three hour drive, baby. Anakin responds. Why?

Vos is making me go out and dress up :( he types with one hand as he sits on the edge of the tub and wets his left leg.

I hope not in the Red Riding Hood number, Anakin replies. Don’t know much I like the idea of you wearing that again when I don’t get to see it.

Not the red riding hood outfit, Obi-Wan confirms. 

What is it this time? Sexy nurse? Sexy bunny?

Slutty schoolgirl :( 

Anakin does not respond. Obi-Wan shaves the entirety of his leg before he decides he should probably make sure Anakin hasn’t keeled over and died from a nosebleed or something.

I don’t want to, he texts, putting the razor down. But I owe him one and he turned down a blowjob. 

His phone starts ringing.

He picks up with a laugh. Anakin really can be so very predictable. “Hi professor,” he says in his sultriest voice.

“Obi-Wan,” Anakin bites out. His tone is low and sort of dangerous. Obi-Wan likes it. “What are you doing?”

“Getting into the part,” he replies, carefully rubbing the shaving cream into his other leg.

“By offering your friends blowjobs, baby?” There’s the slam of a door and some noise Obi-Wan can’t identify. 

“Isn’t that what slutty schoolgirls do, professor?” Obi-Wan teases in that same voice. “Suck cock to get out of doing things they don’t want to do?”

“Obi-Wan.” 

Finally, Obi-Wan laughs again, dropping the act. “I was only joking, Anakin, no need to pull out the dom voice, lover.”

“Hm,” is all Anakin says on the other end of the line.

“I am shaving though,” Obi-Wan tells him. “Mostly because the skirt is very short, and if my thighs are too hairy my skin will get all irritated when they rub together. I guess the costume comes with high stockings, but they’re also pre-torn. So. No protection.” Obi-Wan smirks at nothing and adds slyly, “Just how I like it. Do you have any plans for the night, professor?”

“Just made some,” Anakin replies in that same dark voice that makes Obi-Wan’s stomach squirm and jump and twist. That background noise comes again, and this time Obi-Wan recognizes it. The jangling of keys. “Now will you be good and keep those smooth legs closed until I get there?”

Obi-Wan’s mouth falls open, and his heart leaps up at the—the implication. Anakin is coming. He’ll get to see Anakin soon. 

“Baby?” Anakin says pointedly.

“Yeah,” Obi-Wan breathes. “Um. Of course. Are you really—you’re really coming up here?”

The roar of Anakin’s motorcycle is all he gets in reply. But it’s all he needs, really.

#asks #prompt fill #obikin #TA au #obi-wan probably comes out from the bathroom all dressed up and ready to go and very excited #and vos is like 'yay! :D can't wait to spend tonight just kenobi and vos like the good ol days!!!' #and obi-wan internally is like 'i could tell him but i will not' #so he's like 'yep <3' and they go to the same bar from the first snippet of the ta au #and a few hours later anakin arrives #and vos is signficantly less happy about that #but obi-wan is already halfway to his older hot professor boyfriend #and he's like 'sorry vos!! i owe you!!' #and vos is like >:(

[flux-goodra]

Ok so uh hi new guy here. Had some ideas for a RWBY Pokémon trainer AU kinda thing. So uh here goes.

These are my team ideas and how they got them thoughts for Team RWBY. This also includes Delta Pokémon and Megas from the fan game Pokemon Insurgence.

Ruby’s Team:

1. Budew that Yang helped her catch as her starter from a young age. By the time the show starts it’s already a Roserade.

2. Zoroark, formerly Summer’s Pokémon. Fiercely protective of Ruby and loyal to the family.

3. Scizor. Formerly Summer’s as well, a reliable battler and the mega on both Ruby and Summer’s teams.

4. Type-Null. A mysterious Pokémon Ruby found at Beacon in a lab belonging to an ex-professor who had been fired from Beacon (a reference to the villain of Grimm Eclipse the video game). It would evolve during the events of Vale’s Fall.

5. Drilbur, a Pokémon Ruby befriended at Mountain Glenn during Volume 2 and evolves into Excadrill during the fight at Haven Academy.

6. Delta Emolga aka Little, a strange Pokémon that Ruby encounters when separated from everyone on Ever After.

I would say in this AU that because of how Tai supposedly falls apart from the loss of Summer, Ruby ends up growing closer to Pokémon to the point where she can hear them similar to N and Iris. I would also say that in this AU that silver eyes allow the ones with them to activate bond based gimmicks like Megas without the components, so long as you are aware of them. For that reason alone, that kind of thing is very rare to find in Remnant.

Weiss’s Team:

1. A Snorunt that becomes a Froslass before the beginning of series 1. A gift from Winter and has gone through the same sort of upbringing as Weiss so they’re MIRROR images of each other.

2. Hisuian Sneasal, a gift from Winter to congratulate Weiss on getting into Beacon but one with the lesson of how to be around those with more “wild and erratic behaviour” like Weiss’s classmates. Becomes a Sneasler upon the return to Atlas

3. A Ralts caught during the school trip to the Forever Fall Forest. It would help Weiss with her emotions as her withdrawal from them would only cause Ralts harm. As Weiss learns to accept her emotions and come into her own, Ralts would evolve into Kirlia by Series 1’s end with the acceptance of Blake; and into Gardevoir when Weiss speaks out for her classmates at her father’s party in season 4. This would become one of her Megas during the Hound’s attack in Volume 8.

4. Zangoose, a Pokémon given to her by Raven as form of an apology for the kidnapping (and also to curry favour with Yang). A brutal fighter but becomes loyal seeing how Jacques affects Weiss, and how Weiss defends him from Jacques attempting to “get rid of the vermin”.

5. Absol, a Pokémon caught in Atlas that comes to warn them about Tyrian. It would later come out of it’s pokeball when Ironwood turns on them and any additional time they were in serious danger. It would come bearing a mega stone, as it was secretly once Klein’s Pokémon.

6. Kubfu, a gift from Willow after the attack on the Schnee manor. Given to Weiss for her strength and courage. It would evolve into the Multi-Strike Urshifu in Ever After from experiencing the vastness of the ocean.

Blake’s Team:

1. Litten, a gift from Ghira to ensure Blake would have the strength to follow her convictions. It would be a Torracat by series start and evolve into Incineroar during the battle at the Belladonna Manor.

2. Riolu, a gift from Kalli to ensure Blake was surrounded by those she could trust. This little one would be the first indication that something was wrong with Adam and the White Fang. It would evolve into Lucario in the fight where Blake and Sun meet on the ship in vol 4; and become her mega during the final fight against Adam.

3. Starly, a common Pokémon she catches during the forest trial back in Vol 1 which she uses to find the shrine with the relics in record time. It evolves in the fight with Roman’s mech (that looks like a tyranitar in this au) into Staravia; and evolves again into Staraptor to save Blake and Yang from Adam in Vol 3’s Fall of Vale.

4. Axew, a cute little fella she catches in Menagerie while scouting for Illia. It evolves into Fraxure in the charge against the White Fang at Haven; and into Haxorus to save her from the acid spitting Grimm at Schnee Manor. It is also shiny and Blake finds the mega stone for it in Ever After.

5. Sobble, found in the fountain of the town from Volume 6, evolves into Drizzile while fighting the mech and then into Inteleon against the Ace Ops.

6. Johtoan Sneasal, befriended in the dust mines of Atlas after it got its leg caught in rock and was freed by Blake. Very loyal and one of the few to keep up with her on rooftops. Evolves into Weavile after being given a razor claw by Robyn for telling her about Ironwood’s plans.

Yang’s team:

1. Jangmo-o, her starter given to her by Tai (the child of his own Kommo-o). Yang’s sparring partner, evolves into Hakamo-o in the Yellow Trailer and then again into Kommo-o in the final fight against Adam. Can use it’s Z-Move.

2. Teddiursa, a Pokémon she caught in Patch, is an Ursaring by Vol 1, evolves again into Ursaluna in Volume 4 to give Yang the fire to go back into the world.

3. Impidimp, a Pokémon she catches during her recovery period in Vol 4. Becomes Morgrem when she confronts Raven at her camp and becomes Grimmsnarl against the Ace Ops.

4. Murkrow, a gift from Raven (a child of Raven’s Honchkrow), the behaviour of it is a glimpse at how Raven would’ve raised Yang, evolves into Honchkrow during the rescue of Oscar.

5. Blitzle, a Pokémon caught in mistral to help tow her bike to the farm in Vol 6. Strong and hardy, it evolves into Zebstrika to save Ruby from Neo in Vol 8. Yang would find it’s mega stone in Ever After.

6 Torchic, upon arriving in Atalas and getting their licenses, Qrow would approach Yang to give her this little floof and exclaim how proud he is of her (cause we need more of them together I swear to god). After some training with her team it would quickly become Combusken during the Vol 7 training montage and become a Blaziken to shield Yang from the Oscar-Hazel explosion in Vol 8 and would be gifted a Mega Stone by Willow for her efforts to protect her family from the Hound.

#rwby #pokémon #rwby au #first time posting #pokémon insurgence

[cricketrocker]

Tales of a 44th Grade Nothing from Utopia

Presuming that a 12th grader is 18, and also factoring that I’ve never spent a year of my life outside of some sort of education industry, institution, or school, and finally considering that I’m still—due to madness alone—still *IN* school—yes, here ends 2023 with some tales of a 44th-grade nothing.  Or not nothing, SOMETHING, surely, but you probably get the point, Shirley.  I don’t think anyone is named Shirley anymore, though.  If you catch my drift.

Let’s begin this drift with a description of UTOPIA.  This is not related to the “email signature” I have set on my iPhone.  Whenever I send an email on my iPhone, the automatic signature says, “Sent from Utopia.”  I have used this signature since 2008, when I first thought it would be cute, or funny, or ironic, or SOMETHING, surely, Shirley.  Since then, and after probably hundreds or thousands of iPhone emails, not one person has ever mentioned that it was clever, funny, or ironic.  Likely eyerolls, perhaps.  Silent judgement is probably the best kind of judgement.  But leave me to my wry self-perception of cleverness—it’s HILARIOUS to think that I’d send you or anyone an email message from UTOPIA, right?  As if.

If from anywhere, I’m probably sending emails out from either SMU’s Perkins Administration Building 320C, or I’m sending them from my recliner close to J.J. Pearce High School.  Emails from those two places (because they are written from my laptop) typically feature the full professional email signature, the one which will soon, hopefully depict my predilection for being called “Dr.” for at least a few weeks.  What’s left to achieve at that point?  After writing the longest freaking paper of my life?  Probably getting back into shape, or scheduling a colonoscopy, I guess.  Yep.  Since I’ve already joined AARP.  Just whiling away the days sending messages from UTOPIA.  Me and my ideal planet—where there is a perfect socio-politico-legal system—and where everything works harmoniously and all the inhabitants are warmly sarcastic, well-meaning, and respect introverts and individualized learning over group projects.  Sure.  Everyone loves their utopian self.  For the sake of this tirade, we’ll refer to this as the Babe: The Movie self, okay? 

Hopefully you’ll remember what UTOPIA looks like:

This movie was minted in 1995, the same year I was minted into the world after 4 undergraduate years at Baylor University.  That video takes you through an idyllic morning at the farm.  I may or may night have shed a tear or two as Babe rose to power as the Hogget farm’s lead sheepdog, but remember the lesson that vicious stereotypes such as the belief that pigs and sheep are stupid, are not true.  What a great film for all ages, what important lessons about friendship, perseverance, agrarian self-sufficiency, and the benefits of being a nice person!  Hope for the future!  That’ll do pig!  A postcard from the edge of UTOPIA!

By 1998, however, I’d spent a couple of years trying to find a high-paying job with my double-major BA in English and history and while I was then still committed to the world-changing value of re-reading and re-analyzing The Wasteland every year, I found myself in year two of my three-year high school teacher career.  In year two I taught 6 classes of English I to 9th graders.  My classes were maxed out at 30 students each, so there I was teaching 180 13 and 14 year olds about how life was an epic journey, thanks Homer & Odyssey.  Then teaching them that even if you’re blind and deaf you can still learn and grow up to be a great socialist leader—thanks Helen & Miracle Worker.  And then, by the time of the year that I’d lost all hope, teaching them Romeo & Juliet despite Shakespeare’s words, through Shakespeare’s words and incredible iambic—and holy moly—THEY reminded me that the themes of love and loss and tragedy and destiny totally transcend—well, everything.  I guess there was always, at least in my three years there, that moment where the teacher becomes the student and the students become the teachers, thus closing the electric loop.  That’ll do, piglets, says the farmer.  Or that’ll do farmer, says the piglets.  I hope they all turned out okay and didn’t get eaten for breakfast.  Who can say?  Because I was good at helping people—especially teachers—with technology, I was hired up to do that instead by the local university and 24 years later, I’m sending messages from UTOPIA.  Get it? 

Yesterday I asked my 18-year-old boy, son, young-man, good-guy, superhero, what books he remembers reading throughout high school.  I remember seeing no books—ever—throughout his high school journey so far.  Did he read The Odyssey?  Never heard of it.  Miracle Worker?  What did Helen Keller’s parents do to punish her?  Nope.  Romeo & Juliet? But here a flicker!  What light through teenage memory breaks?  It is the East, and I guess they somehow read it on their Chromebook.  Did they watch the Zeffirelli version in class?  (yeah—including the moment)  Did they then watch the Claire /Leonardo version and determine collectively that it—despite being all modern wonky—was not that great?  Nope.  He remembered that they died.  But only because I asked, “Do you remember that they died?”  He nodded.  I blame the system.  Or Chromebooks.  Or the Internet.

One of those 1998 single-guy apartment nights, however, I saw a movie preview for the SEQUEL to Babe: The Movie.  Behold, coming soon: Babe: Pig in the City:

Naturally I went to see it on opening night.  I’m not sure if you’ve seen it.  If you’ve seen it, you can forego the clips below.  If you haven’t seen it, I do not recommend it unless you’re really into the opposite of UTOPIA which is the slap in the face of DYSTOPIA.  Here are some samples:

The “IF ONLY…” sequence:

The “POOR MRS. HOGGETT” compilation:

Babe Saves a Mean Dog but for what:

Finally, the “Are you lonesome tonight?” blurb:

You can go ahead and watch the movie if you’re into that kind of thing, but chances are you haven’t watched even those YouTube links above.  Suffice to say, as the credits rolled in 1998, I’m pretty sure there was a tear or two, but whereas the first tears in 1995 had been spawned by an innate internalization of UTOPIA—the joke was on me, a movie-goer, that some film studio had produced not the UTOPIAN SEQUAL I’d expected—but rather the entire cancelation whatever I’d remembered and I’d hoped for—with the blunt force trauma of DYSTOPIA for the pig.  The same whimsy that spawned Babe’s utopia simply gave birth to dystopia, the other side of the same coin.  Stop rolling your eyes.

What I’m saying is that there’s a danger to whimsy.  While I’m drawn to that which is quaint, playful, and unexpected—to that which provides delight and stirs creativity; I’ve been blind to whimsy’s dangers and downsides, particularly when not balanced or grounded in responsibility or reality.  Some things make sense on the farm.  Some things fall apart in the city.  Loss of seriousness is all well and good except when it is not.  Impracticality is wonderful but is also costly.  Escapism—good lord—is my favorite, in practice or imagined—though again, at what cost or consequence?  Isolation—perhaps introversion and whimsy go hand in hand—if a whimsical nature is not shared or understood by others—how isolated do we become even amid others?  Unpredictability and spontaneity—wonderful!  But unreliable, inconsistent, good lord.  I did not begin here to reflect upon the danger of whimsy—and while I critique the dangers of that drug—it’s not like I’m going to give it up; I am who I am.  A 44th grader.

Spoiler alert here—Babe saves the farm in Pig in the City.  The farmer, though probably due to brain damage, declares “That’ll Do, Pig” all over again, and UTOPIA is restored, sadder and wiser, or maybe that’s the point, UTOPIA is restored for everyone except Babe—who’s had to function in the City—and somehow try to come home again.  Maybe it’s more about wondering if anyone reads Thomas Wolfe anymore.  “You Can’t Go Home Again”?  Probably not.  I guess we’re changed by our experiences and gain new perspectives.  We can’t go back to the farm, it’s impossible to return to the simplicity or the innocence of the past before we read Miracle Worker or Romeo & Juliet.  Or Babe: Utopia or the sequel Babe: Dystopia.  Thomas Wolfe reminded us that we cannot go home again, that the feeling of displacement and nostalgia we feel when we try is normal, but that we’re just continuing our educations one grade at a time, grappling with the farm, the city, the idea of home, and the relentless progression of time.  WTF.  Rearrange the furniture.

#Youtube

[daveinediting]

I'm gonna take a quick detour here from dysfunctional workplaces because two things:

One.

I've begun this series of posts in the workplace.

Two.

My own professional story doesn't actually begin in the workplace.

And three.

We were at a concert last night that slapped me in the face about something I already know.

Okay three things.

And the something I already know... is what Charlie Kester, director of the Music & Video Business Program at the Art Institute of Seattle, would not shut up about.

Seriously. He would not. Shut up.

About networking.

He was relentless about this particular lesson and we, as dutiful students, made various sounds of agreement even though the whole thing sounded phony and fake when it came to our prospective relationships within our industries.

Eventually, though, I got it.

And then last night’s concert really tweaked my understanding.

For example, what was the point of me going to college? For sure I didn't have an informed answer neither when I applied nor when I went. It turns out, though, the point was to impress the right person with connections to the real world. 

That would be my advertising campaigns professor, Larry Bowen, by the way, who hooked me up with UW Video that, at the time, was called Instructional Media Services through which nearly all of my professional opportunities arose through the various producers who worked there over the years.

Okay fine. So then what was the point of going to the Art Institute?

Well... it sure seemed like what I should do once I realized the advertising industry was not gonna be a thing for me. In reality, though, the point was to impress one person: my guidance counselor. A woman named Elaine who set me up with specific jobs including the one I had at KOMO TV for five years. Interestingly, the production supervisors at both KOMO and UW Video knew each other because they used to work together which totally worked out for me because I had the one at UW listed as a references when I applied at KOMO.

Yup. Networking. Less, in this case, about what I did as much as it's about the mechanism by which I succeeded without any sort of understanding.

Which brings me to last night's concert in which the lead singers of two of the three bands taking the stage once performed in a band in which our daughter's currently a member. Both lead singers subsequently offered her gigs with their bands after working with her. 

The bass player of the band she's in is also in one of these bands plus, when Linzy put a band together for a New Year's Eve gig last year, he was her first call.

The lead singer of the third band along with the lead singer of one of the other bands were also singers in another band earlier this year whose leader was at last night's gig as well. That band leader recently offered Linzy the opportunity to collaborate on an upcoming album.

Okay so I talked about Linzy and these other vocalists performing with this other band earlier this year. Well, Linzy sang with that band last year, too, and the solo artist who opened for that show was also at last night's show that included a few moments for the two of them to catch up a little. 

Finally, Linzy has a non-acoustic brand she's trying to launch, one that's perfectly doable in the studio given the layers of sound and music involved.

Live, though?

She hasn't figured that out yet. She hasn't determined the audience experience of a show taking place under that brand. The first performer last night, though, has crafted a performance sort of in the ballpark of what she's considering and the performer’s not only offered to work with her on her own brand’s live performance... but also offered her a slot at an upcoming show in June. Her very first performance under the brand she dreamed up.

Yeah, so...

Networking.

Once upon a time, the director at our school wouldn't shut up about it. 

At the time, we humored him.

But.

Yeah. 

He was right.

Because all these connections at last night’s show?

Nearly all were formed because of the college our daughter chose.

And yeah.

She impressed the right people.

😊

#career #work #job #profession #connections #networking #impressing #success #opportunities

[illyria-12]

AOT Headcanons

I’ve been thinking of posting some of my headcanons and other shit here a bit more. I’m much more active on other platforms, but figured, why not? 

So have something I threw together at... I dunno, maybe 3am Monday morning? :)

Warnings: None that I am aware of.

Includes: Eren Jaeger, Armin Arlert, Levi Ackerman, Erwin Smith, Hanji Zoe, Reiner Braun (At present, maybe more added at a later date.) 

AOT Characters as Study Buddies:

Eren Jaeger:·        

Do not expect this boy to remember that he agreed to study with you. He could have agreed to study with you just a few hours ago, and would forget. He needs regular reminders.         

Remind him a couple of days before, the day before, on the day, during lunch and definitely make sure you text him after school.          

Is always late.         

He starts off really focused. Pulls out his books and notes and is eager to help.     

But he also gets very easily distracted. 

Will often check his phone. It’s a really bad habit he can’t seem to control. Whether it’s just checking the time or clearing notifications, expect his phone to be in his hand at least 60% of the time. Clearing notifications often leads to him scrolling through social media, sending snaps or replying to texts too.   

Will always involve you, telling you why he is laughing, showing the funny video or meme he has found or explaining a conversation he is having.

It’s entertaining, but not exactly the reason you are here...        

He doesn’t have a preference of where he studies, he is pretty content anywhere, but if you go to his place, he will frequently bring in snacks or order pizza. Also is much more easily distracted when at home.         

His attention span isn’t great, and although he loves the idea of being helpful and studying with you, he gets bored quickly.         

Can also get confused with his own notes.       

Will often try and get you to call an end to the study session rather than do it himself. It makes him feel accomplished that way; like he has done his job and you are the one who has had enough.Will often groan things like: 

“Are we done yet?”        

“My head/back/wrist/eyes hurt.”         

 Occasionally he will suggest ‘taking a break’, but once that has been agreed to, it is pretty much the end of studying for the rest of the night.

Likes to try and make studying as fun as possible. Bright colours, highlighting, bubble diagrams, sticky notes. You best believe his version of pop quiz is to write random answers on a sticky note and stick it to your forehead and then get you to ask questions until you get the answer right. 

Will definitely reward you with a kiss when you finally get it right.

Sometimes leaves sticky notes in your book of ‘motivational quotes' to make you smile when you eventually come across them.

Armin Arlert:-       

By far, the most committed study buddy you could have hoped for.

You have weekly study sessions at the library every Friday after school. 

Armin is always there before you, fully prepared; books laid out neatly on the table. Sometimes he even starts his homework while waiting for you. 

Is very much a fan of making a little itinerary of things you are going to work through on the day.         

Doesn’t mind odd conversation but is an expert at getting you back on the subject at hand. He can often even relate whatever you’ve said back to the topic... although sometimes it doesn’t make sense. But it’s still funny and endearing. 

“You know who else thought Mrs Bratton was a bitch? William Shakespeare.”         

Is incredibly patient.         

Is a great supporter, always encouraging you and praising you when you get things right.         

Would never admit it but he finds it cute when you just can’t wrap your head around something and then out of nowhere, the penny drops.

The faces you pull entertain him. Either when realization finally dawns on you or if you’re thinking very hard.       

“Hey, don’t worry, you got this... let’s just go through it again.” “That’s it! See? Told you you’d get there.”          

Will always make sure he brings you something to drink and snack on during session. Usually a sandwich, crisps or some chocolate to give you a bit of a boost.          

Doesn’t push you too hard, if you say you have had enough, he will generally leave it there, or try to convince you to do just a bit more, but never in a demanding sort of way.         

“Okay, shall we finish this page first?”     

“One more section? Promise.”         

Armin's biggest downside? He is so soft on you.         

Very often gives you the answers as opposed to forcing you to figure it out. 

Absolutely can not be stern. If you are feeling playful, or really not in the mood and start teasing him,he is quick to admit defeat rather than stand his ground and force you to get through the work.         

Absolutely will do 99% of the work on group projects but share the credit with you.

Levi Ackerman:·         

Will make it seem like he doesn’t want to study with you, but will ultimately agree. 

“Why don’t you ask ...... instead? Tch. Fine.”

At first he will always read what it is you have to do, and then proceed to tell you what you have to do, but not necessarily tell you how to do it.

Eventually he realizes you already know what you’re supposed to do... (you can read, Levi.) And then proceeds to actually help.          

Expect a lot of sarcasm and insults. He doesn’t necessarily mean them, but he will say them anyway.         

"Whining about it isn’t going to magically speed this up. Get to it.” 

Very rarely strays away from what it is you’re meant to be doing.

Complaining gets you nowhere with him.         

“No, we’re not taking a break, you should have eaten before.”         

It’s not that he doesn’t care, he does, but he also knows you will do anything to get out of studying when you’re frustrated, and tend to over-exaggerate. You’re not ‘starving’, he saw you eat at lunch... which was only a couple of hours ago.          

Likes to prioritize your subjects. Will take into account when assignments are due in, how difficult they are going to be and how long it will take to get done.         

Strict. Very strict.          

Prefers to study in a quiet and familiar place. Libraries or either of your houses where there are minimal distractions. 

Absolutely will not let you copy his notes. You’re welcome to read them, but he expects you to refer to your own. That doesn’t mean you don’t steal snippets here and there though, much to his annoyance.   

“Do you pay attention in any of your classes?”          

Very good at breaking things down and explaining things. You actually pick things up pretty quickly when studying with him, probably due to his ‘no nonsense’ approach.          

Will occasionally randomly test you to see if you’re actually paying attention and remembering what you are doing. He always smiles a little when you can answer his questions.          

Is not going to do the work for you, and certainly isn’t going to give you answers, you have to really work for them.          

Is patient until you start misbehaving.     

His occasional praises are a treat.

Erwin Smith:·         

Loves to study with you in different places. This man will plan a whole day for it.          

Will always bring a picnic when you study in a park. Happy to share a cocktail if you go to a bar, or a milkshake and burger if you go to a diner. 

If you do happen to study in a library, he will always take you for food afterwards. 

His notes are detailed and beautifully written and he has no problem with you using them.         

Don’t expect him to give you the answers though. Erwin is the sort of person who will ask you what you think. 

“How do you think we figure that out?”   

“What do you think we need to do?”       

“What do you think this means?”         

It’s not that he doesn’t know. But he wants you to try and figure things out yourself. As long as he can see you’re making an effort though, he is happy to guide you and let answers slip here and there, or word things in such a way that you suddenly have an epiphany and get the answer.

Is a great motivator and supporter.          

Doesn’t mind taking breaks every so often and uses this time to have general conversation with you. Nothing work related in the breaks, it’s meant to be a break.         

Is not above bribing you. Whether it be with food, physical affection, surprises... 

Yes, Erwin has in fact brought you gifts and refused to give them to you until you do the work and get it right.         

And he would do it again.        

Erwin knows a decent amount about a lot of different subjects and sometimes shares random facts regarding topics you’re studying about. Sometimes they are not at all relevant. But they are usually always interesting.         

You have this man’s undivided attention throughout the study session. Erwin is usually very busy , so when he does dedicate time to help you, he likes to be fully committed.          

Will ignore his phone completely. Texts, phone calls... everything, until you both take a break.

Hanji Zoe:·         

When the two of you get together to study, it is very hit and miss as to whether you actually get the work done. She is so intelligent, but also, such a ditz at times.          

Hanji can talk.         

Like, a lot.          

She very often will start off talking about a topic and swerve off into other lanes and get completely side-tracked.          

You once started off writing a biology paper and somehow ended up getting a history lesson about Ramses II, after learning all the details of the Black Death and even touching on Jack the Ripper.   

 But she is highly intelligent under her scatterbrain-iness.        

But can become very easily distracted. Especially if you start talking to her about something she is very excited or passionate about.          

Will sometimes forget to bring textbooks you need to use.         

Will hyper focus at times. Sometimes a bit too extensively. It can be very draining.        

Can be known for getting lost in the details.          

Never comes to a study session without a coffee for the both of you.

Absolutely has no problem sharing her notes with you, will often steal yours too.        

“A fresh set of eyes and all that.”        

“Ah, this is good! Who knew you were a certified genius?!”        

Has no problem pulling her weight on group projects, but also has no problem letting you take the lead... or do all the work.         

Tends to be much more productive closer to the end date of an assignment. 

Fidgets a lot. Always tapping a pen, nibbling on the end or twirling it between her fingers. Knee bouncing... almost constantly.          

Likes to take regular breaks to analyse and go over what the two of you have learned and accomplished so far and decide where to go from here.

Procrastinates.

Reiner Braun:·         

Reiner is always happy to study with you. Even though his calendar is pretty full, he will always make an effort to squeeze you in.          

Definitely the kinda guy to put a game night on hold, telling his friends online he will be back in a couple of hours to help you first.          

Always greets you with a kind smile and asking if you’re ready for the session.       

Doesn’t mind where you study, but does prefer to study at his house so he can give you a snack or something to drink.   

Really likes it when you go and study in the garden. It is probably his favourite place to study with you. Just because it is nice, quiet and peaceful.          

Very chilled out; will often make jokes and try his best to keep the mood light. 

Very patient; has no problem going over things multiple times and trying lots of different ways to try and help you understand.          

Likes to be close to you when you work together. Knees occasionally touching, shoulders brushing. Just give this man a reason to touch you in anyway shape or firm. A reassuring hand on your shoulder, a quick one armed hug in the chair, ruffling your hair, squeezing your hand... he is all about that shit.          

Will celebrate your victories and praise you constantly.        

“Hey, well done! See I knew you would get it.”         

“We’ve done a lot today, I’m proud of you.”         

Always down for a cuddle or a movie afterwards, or maybe even a walk through the park to get some air and unwind.          

Will digress sometimes but it’s very fleeting and he picks up exactly where he left off again easily.          

Has no problem with you taking some of his notes, or searching the Internet for answers.          

Will explain how he got the answer and break things down into manageable chunks for you.         

Chocolate is always on the table.        

If you get too stressed he will let you take a break.         

Will offer to give you neck, back or even hand massages if you get too stiff. 

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

#Headcanon #aot headcanons #hc #AoT #snk #Eren Jaeger #armin arlert #levi ackerman #hanji zoe #Erwin Smith #reiner braun #writing stuff

[theanimeview]

WE NEED TO TALK ABOUT SKATE-LEADING☆STARS (Spoilers)

By: Peggy Sue Wood | @peggyseditorial​

I have said it before, and I will say it many more times--of that I am sure. I used to be a competitive figure skater. It was a long time ago, I had stop in high school due to several consecutive head injuries but I still love and follow the sport (I also still skate, just not competitively). 

When Yuri!!! on Ice was out, I loved it because it showed a lot of the cultural parts of skating. The travel, the personality types (in some cases, though not as much), the publicity, the news coverage, etc. We had cameos of famous skaters, we got to see competitions in a pretty realistic way, costuming, the dance and/or gymnastics that skaters must do on and off the ice, and so much more! (I could probably nerd about all the easter eggs and everything else all day long.) The skating in Yuri!!! on Ice is good too. The sounds are near perfect and the movements, though a bit stiff due to the use of CGI, are accurate. 

THAT ASIDE I think Skate-Leading☆Stars is better. In regards to the culture of skaters, SL☆S falls way short but that’s alright. After all, this is a sports anime set in a high school where sports is an all consuming entity and reality takes a back seat to guys with eccentric hair colors. The skating is what's important here and OH LET ME TELL YOU it is near perfect.

Let’s look at this: 

This is our MC, Kensei Maeshima, doing a triple axel (I think they called it a quadruple in the anime which would mean 4 spins but I counted 3 so I’m calling it a triple for now). It’s the only jump that takes off going forward in skating and is one of the most difficult jumps. All of the movement here is accurate--from the way he jumps up and straightens his legs as soon as possible with arms tucked in to help the spin, to the way he lands with a slight bend of the knee, curving around and throwing out the arms for balance (and flare). 

It’s gorgeous. And it continues. When we see Kensei practicing, we get these shots: 

A Sit Spin ^

Crossovers ^

And a Salchow ^ (I think it is Salchow, but if could be a Lutz--the uncertainty comes from me finding it difficult to decipher which edge he’s on before jumping).

ALL OF THESE are beautifully animated and correct--from the way he pulls his arms in quickly and straightens his legs before bending for the landing again to the way he moves after landing. 

Crossovers are especially good as they help build momentum quickly before jumps, allowing a skater to travel more during their jump. 

And when he falls, you see something else that they train you for in skating--how to fall. It’s literally the first thing I was taught when I began taking lessons. Let me explain--in the gif above where he falls coming out of the Salchow, we see this:

He landed on the correct foot, but was still coming out of the last half of his last turn. His other foot, which is meant to swing out, around, and behind him, before guiding the glide out of said jump, hits the ice at an angle as he lands thus causing most of the ice shaving we see happening to the top layer of ice as his other foot slides out from under him. 

Now, if your feet went out from under you--the first thing that you might do automatically is go to your knees or hands to protect your fall. In skating, it’s a bit different. If you fall, your aim is to quickly move to try and let your butt or thighs take the hit while trying to avoid joints (knees, elbows, and wrists) and head injuries. What does Kensei do? He quickly turns to land on his butt first:

His hand skims the ice, but he moves it up, and off the ice as he bounces:

He then turns during the bounce, aiming to land on his thighs (less painful in my experience, and less risk of a tailbone or head injury as you continue to bounce and slide on the ice). His arm extends outward to avoid hitting his elbow directly on the ice with the weight of his upper body against it, while moving the arm up, placing his bicep closer to the head (which will help prevent his head from smacking against the ice):

Finally, he stops sliding and has, officially, “landed” his fall:

Note how the head is tucked in, resting a bit on the bicep, his elbow is not being leaned against (or broken after this fall) since it is laying flat, and how he is on his side? Yeah. That’s a pretty great fall. 

You’d be a little scratched up after that if the ice was rough and since he wasn’t wearing a jacket/gloves--but you’d probably avoid bruising or any severe injuries. The reason for the fall was probably a combination of the scratched up ice (which he credits), being out of practice, and his need for more muscle training.  Still, AWESOME. He’s doing really well for being as out of practice as he is. 

BUT WHAT ABOUT THE STORY??

Okay--Now that I’ve nerded out about the skating I’ll talk about the larger story.

Kensei is hated by his current team. It reminds me a lot of the hate that was given towards Ren Mihashi in Big Windup! prior to transferring schools. 

Kensei is obviously very talented--I mean, not everyone can come back from being off the ice FOR YEARS and do jumps like that without seriously hurting themselves and falling all over the place. It’s not like riding a bike--it’s more like highly skilled dancing... on blades... on a very slippery surface where you are likely to seriously break something. His team hates him for some reason, and act like he’s not a team player or something but he doesn’t come off that way. Perhaps a bit overly confident for their liking, but he clearly has the skills to back it up and we have proof that he can play on a team since we’re shown him playing basketball in Episode 1 and told that he’s played on and been scouted by a number of other teams at the school.

If they dislike him because of him quitting for a while, I’d say they need to get over it because we learn in the first few minutes of the anime that before Kensei’s last competition he lost both his parents--who were professional ice-skaters--in a traumatic accident. 

In the flashback we see of him as a child, the reference point for why so many of his current teammates seem to hate him, we see that Kensei doesn’t seem to have any friends. In fact, our antagonist Reo Shinozaki is the one seen surrounded by people and other kids. While Reo doesn’t seem to regard any of his peers as being friends or equals, it’s pretty clear that he is at least liked more by the other kids than Kensei who is alone. 

As a teen, Kensei has made several friends outside of skating which we see in the current episodes but he still hasn’t made much headway with the other skaters--though at least one of the older kids, Yukimitsu Mochizuki, is nice to him. Some of the members are obviously mad at him for something and wish he wasn’t part of the team and maybe that’s because of his boisterous personality but more likely its due to something more petty, like jealousy or envy at Kensei’s skill or some sort of lack in communication. (Remember, they were all individual competitors going against each other at one point, and when your friends are also who you actively compete against it can get pretty ugly.) 

That’s not to say Kensei is without flaws. As mentioned, he is overly confident at points and makes careless statements about a few of the other members’ being of lower skill or caliber than him despite knowing that he is out of practice and that they take the sport very seriously. If I was to apply this to my own experience as a former skater, it may be like when I had a falling out with many of my skating friends after I had to stop competing and no longer attended lessons. Many of them, particularly at our young age and level, couldn’t imagine giving up skating for any reason aside from losing life or a limb. Concussions or the after effects didn’t feel real to them (nor to me), and yet the pain I felt doing simple spins or moving quickly left me in pain and feeling like I had just slammed my head against the ice. Some felt like I was quitting just as the real competitions were getting started (entering adult competitions). One friend later told me that she felt like I had quit while I was ahead, “robbing” her of the chance to beat me, as though I would have know that. A few others said that it felt like I didn’t care about them or the sport anymore when I stopped coming to group lessons. Meanwhile, I felt like I was being abandoned and lost now that I couldn’t do the one thing that had consumed much of my free time and focus in life at that age... But it’s okay now, because I found anime. (JK--it all worked out as we got older and talked things through.)

I’m sure that as the series progresses, these combative issues within the team will work themselves out and I’m looking forward to it!

Comparatively, it feels a LOT like the Free! series (you remember that swimming anime we were all obsessed with?), though the focus on ice skating that we see within the series thus far (such as news stories, the number of clubs and schools that have ice skating clubs, youtube-videos, and other media) imply that ice skating is as prevalent there as basketball or volleyball. Which, as much as I’d love that to be true, is simply not the case. It’s fictionalized, obviously, and the story is really laying on the drama pretty thick from inter-team disharmony to a larger rivalry with our antagonist that said antagonist doesn’t even seem to register, think about, or give two hoots towards.

As for the rest of the fictional universe of this world... Uh. It’s a high school sports anime so what do you expect?

Simply put, it’s a standard story for this genre. 

I have not yet read the manga--but I plan to immediately. 8/10 recommend streaming on Funimation.com, and 10/10 on animation (if only for the skating). The next episode comes out on the 10th, so now is a great time to catch up! 

#Big Windup! #Free! #free! iwatobi swim club #skate-leading☆stars #skateleading stars #skateleadingstars #ice skating #figure skating #yuri!!! on ice #yuri on ice #yuri on ice!!! #group skating #review #analysis #funimation #SL☆S

[sad-little-ghost-hunter]

The Professor and The Genie: A Full Breakdown

Welcome one and all to A Comprehensive List of All The Genie Lore In Puppet History, With Theories. If you aren’t familiar with what I’m talking about, go watch all of Puppet History made by @wearewatcher on YouTube and come right back here. No dilly-dallying. For those of you who are, you’re probably also aware of the recurring character of The Genie on the show, whose role has been the subject of much speculation among the show’s audience. I couldn’t find a compilation of references/ theories, so I made one! 

The show, which tells somewhat obscure stories from throughout history, accompanied by a special guest each episode and a musical number at the end of each tale, is hosted by The Professor, a little fuzzy blue puppet, who commonly references The Genie, with whom he holds a deep-rooted grudge. I will be going through all the existing information on this guy so far, and discussing a few theories as to what all this is about. It’s like my very own BuzzFeed Unsolved except I’m just one very bored person with way too much time on her hands. 

Let’s compile all of the currently known information: on April 10, 2020, in the video entitled, “Surviving The Titanic: History's Luckiest Woman • Puppet History” the Genie is first mentioned, at 16:10, in a question about what Violet Jessop saw while peering off of the ship. The answer choice reads, “A Genie??????????????????” 

On August 14, 2020, in the video entitled, “How America’s First Female Detective Saved Abe Lincoln • Puppet History” the Genie again comes up, at 23:04, in a question entitled “What’s the matter?!?”. The answer choice reads, “The secessionists had found a magical genie!” The pattern was starting to emerge. 

On September 4, 2020, in the video entitled “The Disastrous 1904 Olympics • Puppet History” the genie is once again mentioned, at 5:06. The genie is referred to as “fickle” and apparently keeps making things worse, no matter what the Professor says. From this we can gather that the genie may have gone back on some sort of promise he made to The Professor, and is escalating the situation. 

On September 11, 2020, in the video entitled “Isaac Newton's Nemesis • Puppet History” the genie is mentioned in an answer choice at 6:45, reading “A genie that will stop at nothing to make my life a living hell, even though I followed his silly rules to the letter and I don’t owe him anything.” Clearly, things with the genie are only getting worse. The genie is harboring some sort of grudge against the Professor, be it the Professor’s fault or not. The Genie also provided rules for something-- we’ll return to this later.

On September 18, 2020, in the video entitled, “The World’s Greatest/ Rudest Samurai • Puppet History”, The Genie once again comes up in the answer choices at 24:52, as “A genie who insists I owe him, and I wish I had a wish left so I could wish Musashi were here to teach him a lesson.” Once again, we see evidence that the Professor may have made some sort of deal with this genie, and whether or not he fulfilled his end of the bargain is still up in the air.

On September 25, 2020, in the video entitled “Policarpa: The Revolutionary Teen Spy • Puppet History”, the Professor makes not one but three references to the genie! We get so much lore here! First up, at 1:05, Ryan Bergara asks The Professor how old he really is. The Professor responds with this: “Yeah, you know, you start jumping around in time and things get a little funky…”. Just a few seconds later, the Professor says, “Well, if you could ask the subject of today’s story, which, how could I, it's not like you can just wish to be able to time travel…“ The pain in his voice here is apparent, devastating, and very real. Lastly, later on in the video at 20:05, The Professor gives the following answer choice to the question, “What happened?” (to Policarpa). The choice reads, “A magical genie meddled once again with history, and turned Policarpa in, and tried to pin the blame on a bespectacled puppet, who is at this point starting to suspect he may have made a deal with the devil.” Now here’s where things get real interesting. The Professor is now alleging that not only is the Genie out to get him, but the Genie is actually influencing history. 

On October 2, 2020, in the video entitled “The Grisly Journey of the Donner Party • Puppet History”,  The Professor goes on a longer than usual tangent about the genie at 18:38, saying, “He had cached a trove of treasured items, including a magical lamp that only a creature about the size of a human hand could get to, and inside the magical lamp was a Genie, capable of granting any wish, up to and including turning a seemingly everyday item into a secret time machine, but that if you wished for that, THE GENIE WOULD BE A TOTAL PRICK ABOUT IT, SO MAYBE BE CAREFUL WHAT YOU WISH FOR.” The genie appears in a short montage of clips, with the professor’s above monologue in the background. The genie shown is just Shane in eyeliner and an Aladdin-style genie costume, cackling and looking mischievous. The professor rubs the lamp in the skit, and the genie does that evil villainous hand thing, and casts some sort of spell. There’s a lot to break down. First up, we may have gotten a glimpse into the Professor’s actual past here. It seems as though at some point in his life he was either told about, or found out about this cache of treasure deep in the mountains, that only a creature about the size of a human hand could get to. This is important because it debunks one of the most popular theories circulating the internet right now-- that the Genie somehow turned the Professor into an immortal, time-traveling puppet. The Professor was clearly already a puppet, as he had access to this treasure trove. Next we get the part about the time-machine. If we can assume that the Professor is projecting his past experiences onto the poor guests on this show, we can surmise that the Professor used his wish to wish for one of his ordinary objects to turn into a secret time machine. We will delve more into this later. 

Finally, on December 25, 2020, in the video entitled “The Story of St. Nicholas • Puppet History”, The Professor goes on another rant about the Genie in the answer choices, saying “The same curse that eventually befalls all of God’s creatures-- an evil genie was pursuing him through time and space to steal something the genie himself had made magical!” From this we can gather that, after the Professor wished for his time machine, the Genie gave him some rules and conditions he had to agree to. The Professor may have broken these, hence why the Genie is pursuing him across time and space. 

Now that we have all the existing information, assuming I didn’t miss anything, let’s get into the theories. 

My current, working theory is that The Professor happened across this lamp somewhere deep in the mountains, and wished for a Time Machine from the Genie inside. The Genie (who appears malevolent in the Professor’s flashback, but I’m gonna chalk that up to personal bias) agreed, but gave the Professor some conditions and rules to follow regarding the Time Machine. The Professor agreed, and promptly broke these rules. The Genie then demanded something in return-- This could be the Time Machine itself, but given Shane’s twisted mind I would assume the Professor owes the Genie something more. Perhaps… his soul?

Or maybe just a fine, I don’t know.

The Professor refused to pay up, possibly time traveling away to hide from the Genie, and is now on the run. A fuzzy blue fugitive. But, the Professor also mentioned that the Genie actually meddles with history, and tries to get the puppet in trouble for stuff he didn’t do. This begs the question; why would the Genie resort to a relatively harmless source of mischief to target the Professor, instead of just taking whatever is owed to him? This almost implies that whatever it is the Professor owes the Genie has to be given willingly. Hence, why the Genie is making his life “a living hell”. 

The puppet also seems to be immortal, or at least old enough to not remember how old he is. In his words, time is “funky” when you travel around it too much. 

We also don’t know which of the Professor’s objects could be the Time Machine. Some have speculated (some being me) that it’s his satchel, or hat. But, when you think about it, it seems most likely that it’s actually the theatre itself. The Theatre does often seem to transport you back in time to the actual stories, although that could just be Watcher’s killer editing skills. Either way, the Time Machine seems to be a source of great trouble for the puppet, so maybe just… get rid of it?

There are 2 main schools of thought here, in my own opinion. The idea that the Genie is in the wrong, and is relentlessly torturing this poor Professor for no good reason, or the idea that the Genie is actually justified in his anger at the Professor, and that the Professor brought this on himself. 

Theory #1: The Genie is a malevolent entity, and tricked the Professor into making an unfair deal with him. This is clearly what the Professor himself believes, or wants us to believe. The Professor says, and I quote, “starting to suspect he may have made a deal with the devil.” If this is true, and the Professor is actually on the run from the Devil himself, then that would imply that the Professor sold his own soul for this time machine, the most commonly referenced deal with the devil. However, since that would be a little far-fetched even for Shane (although, let’s be real- would it?) we could go with the second option- the Genie is just a Genie, but he did trick the Professor into making a bargain with him, and the Professor still believes he has held up his own end of the deal. 

Theory #2: The Genie is just doing his job, and the Professor’s the one at fault. Now I don’t want to take any sides here, but this does seem to be the most plausible theory. Even the Professor, on several occasions, has implied a set of rules that he agreed to when he wished for his Time Machine. What these rules were we may never know, but the Genie clearly thinks that he broke them and is now owed something. Historically, in folklore from all over the world, Genies are tricky creatures, and will try to deceive you into wishing for stupid stuff, or agreeing to things that you maybe shouldn’t agree to. However, in almost all cases, if you manage to outsmart them, or keep your word, they will leave you alone. Let’s say The Professor knew what he was getting himself into when he wished for the Time Machine. He agreed to the rules, and he understood that if he broke them he would owe the Genie something. Yet he went ahead with it, and now the Genie is after him. He clearly broke the rules and the Genie is just collecting on his bargain.  

All in all, we don’t have enough information yet to actually know what this Genie’s DEAL is (see what I did there). Is the Genie an evil being trying his very best to ruin the unlucky Professor’s life? Or is the Professor the one who wronged the Genie, breaking his word and escaping via Puppet TARDIS? The answer will remain… Unsolved.

#buzzfeed unsolved #shane madej #ryan bergara #puppet history #watcher #the professor #genie lore

[dailytomlinson]

A bathroom figures significantly in the origin stories of at least two classic One Direction songs. The first will be familiar to any fan: Songwriter and producer Savan Kotecha was sitting on the toilet in a London hotel room, when he heard his wife say, “I feel so ugly today.” The words that popped into his head would shape the chorus of One Direction’s unforgettable 2011 debut, “What Makes You Beautiful.”

The second takes place a few years later. Another hotel room in England — this one in Manchester — where songwriters and producers Julian Bunetta and John Ryan were throwing back Cucumber Collins cocktails and tinkering with a beat. Liam Payne was there, too. At one point, Liam got up to use the bathroom and when he re-emerged, he was singing a melody. They taped it immediately. Most of it was mumbled — a temporary placeholder — but there was one phrase: “Better than words…” A few hours later, on the bus to another city, another show — Bunetta and Ryan can’t remember where — Payne asked, maybe having a laugh, what if the rest of the song was just lyrics from other songs?

“Songs in general, you’re just sort of waiting for an idea to bonk you on the head,” Ryan says from a Los Angeles studio with Bunetta. “And if you’re sort of winking at it, laughing at it — we were probably joking, what if [the next line was] ‘More than a feeling’? Well, that would actually be tight!”

“Better Than Words,” closed One Direction’s third album, Midnight Memories. It was never a single, but became a fan-favorite live show staple. It’s a mid-tempo headbanger that captures the essence of what One Direction is, and always was: One of the great rock and roll bands of the 21st century.

July 23rd marks One Direction’s 10th anniversary, the day Simon Cowell told Harry Styles, Niall Horan, Zayn Malik, Liam Payne and Louis Tomlinson that they would progress on The X Factor as a group. Between that date and their last live performance (so far, one can hope) on December 31st, 2015, they released five albums, toured the world four times — twice playing stadiums — and left a trove of Top 10 hits for a devoted global fan base that came to life at the moment social media was re-defining the contours of fandom.

It’d been a decade since the heyday of ‘N Sync and Backstreet Boys, and the churn of generations demanded a new boy band. One Direction’s songs were great and their charisma and chemistry undeniable, but what made them stick was a sound unlike anything else in pop — rooted in guitar rock at a time when that couldn’t have been more passé.

Kotecha, who met 1D on The X Factor and shepherded them through their first few years, is a devoted student of boy band history. He first witnessed their power back in the Eighties when New Kids on the Block helped his older sister through her teens. The common thread linking all great boy bands, from New Kids to BSB, he says, is, “When they’d break, they’d come out of nowhere, sounding like nothing that’s on the radio.”

In 2010, Kotecha remembers, “everybody was doing this sort of Rihanna dance pop.” But that just wasn’t a sound One Direction could pull off (the Wanted only did it once); and famously, they didn’t even dance. Instead, the reference points for 1D went all the way back to the source of contemporary boy bands.

“Me and Simon would talk about how [One Direction] was Beatles-esque, Monkees-esque,” Kotecha continues. “They had such big personalities. I felt like a kid again when I was around them. And I felt like the only music you could really do that with is fun, pop-y guitar songs. It would come out of left field and become something owned by the fans.”

“The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” says Carl Falk

To craft that sound on 1D’s first two albums, Up All Night and Take Me Home, Kotecha worked mostly with Swedish songwriters-producers Carl Falk and Rami Yacoub. They’d all studied at the Max Martin/Cheiron Studios school of pop craftsmanship, and Falk says they were confident they could crack the boy band code once more with songs that recalled BSB and ‘N Sync, but replaced the dated synths and pianos with guitars.

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The greatest thing popular music can do is make someone else think, “I can do that,” and One Direction’s music was designed with that intent. “The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” Falk says. “If you listen to ‘What Makes You Beautiful’ or ‘One Thing,’ they have two-finger guitar riffs that everyone who can play a bit of guitar can learn. That was all on purpose.”

One Direction famously finished third on The X Factor, but Cowell immediately signed them to his label, Syco Music. They’d gone through one round of artist development boot camp on the show, and another followed on an X Factor live tour in spring 2011. They’d developed an onstage confidence, but the studio presented a new challenge. “We had to create who should do what in One Direction,” Falk says. To solve the puzzle the band’s five voices presented, they chose the kitchen sink method and everyone tried everything.

“They were searching for themselves,” Falk adds. “It was like, Harry, let’s just record him; he’s not afraid of anything. Liam’s the perfect song starter, and then you put Zayn on top with this high falsetto. Louis found his voice when we did ‘Change Your Mind.’ It was a long trial for everyone to find their strengths and weaknesses, but that was also the fun part.” Falk also gave Niall some of his first real guitar lessons; there’s video of them performing “One Thing” together, still blessedly up on YouTube.

“What Makes You Beautiful” was released September 11th, 2011 in the U.K. and debuted at Number One on the singles chart there — though the video had dropped a month prior. While One Direction’s immediate success in the U.K. and other parts of Europe wasn’t guaranteed, the home field odds were favorable. European markets have historically been kinder to boy bands than the U.S.; ‘N Sync and Backstreet Boys found huge success abroad before they conquered home. To that end, neither Kotecha nor Falk were sure 1D would break in the U.S. Falk even says of conceiving the band’s sound, “We didn’t want it to sound too American, because this was not meant — for us, at least — to work in America. This was gonna work in the U.K. and maybe outside the U.K.”

Stoking anticipation for “What Makes You Beautiful” by releasing the video on YouTube before the single dropped, preceded the strategy Columbia Records (the band’s U.S. label) adopted for Up All Night. Between its November 2011 arrival in the U.K. and its U.S. release in March 2012, Columbia eschewed traditional radio strategies and built hype on social media. One Direction had been extremely online since their X Factor days, engaging with fans and spending their downtime making silly videos to share. One goofy tune, made with Kotecha, called “Vas Happenin’ Boys?” was an early viral hit.

“They instinctively had this — and it might just be a generational thing — they just knew how to speak to their fans,” Kotecha says. “And they did that by being themselves. That was a unique thing about these boys: When the cameras turned on, they didn’t change who they were.”

Social media was flooded with One Direction contests and petitions to bring the band to fans’ towns. Radio stations were inundated with calls to play “What Makes You Beautiful” long before it was even available. When it did finally arrive, Kotecha (who was in Sweden at the time) remembers staying up all night to watch it climb the iTunes chart with each refresh.

Take Me Home, was recorded primarily in Stockholm and London during and after their first world tour. The success of Up All Night had attracted an array of top songwriting talent — Ed Sheeran even penned two hopeless romantic sad lad tunes, “Little Things” and “Over Again” — but Kotecha, Falk and Yacoub grabbed the reins, collaborating on six of the album’s 13 tracks. In charting their course, Kotecha returned to his boy band history: “My theory was, you give them a similar sound on album two, and album three is when you start moving on.”

Still, there was the inherent pressure of the second album to contend with. The label wanted a “What Makes You Beautiful, Part 2,” and evidence that the 1D phenomenon wasn’t slowing down appeared outside the window of the Stockholm studio: so many fans, the street had to be shut down. Kotecha even remembers seeing police officers with missing person photos, combing through the girls camped outside, looking for teens to return to their parents.

At this pivotal moment, One Direction made it clear that they wanted a greater say in their artistic future. Kotecha admits he was wary at first, but the band was determined. To help manage the workload, Kotecha had brought in two young songwriters, Kristoffer Fogelmark and Albin Nedler, who’d arrived with a handful of ideas, including a chorus for a booming power ballad called “Last First Kiss.”

“We thought, while we’re busy recording vocals, whoever’s not busy can go write songs with these two guys, and then we’ll help shape them as much as we can,” Kotecha says. “And to our pleasant surprise, the songs were pretty damn good.”

At this pivotal moment, too, songwriters Julian Bunetta and John Ryan also met the band. Friends from the Berklee College of Music, Bunetta and Ryan had moved out to L.A. and cut a few tracks, but still had no hits to their name. They entered the Syco orbit after scoring work on the U.S. version of The X Factor, and were asked if they wanted to try writing a song for Take Me Home. “I was like, yeah definitely,” Bunetta says. “They sold five million albums? Hell yeah, I want to make some money.”

Working with Jamie Scott, who’d written two songs on Up All Night (“More Than This” and “Stole My Heart”), Bunetta and Ryan wrote “C’mon, C’mon” — a blinding hit of young love that rips down a dance pop speedway through a comically oversized wall of Marshall stacks. It earned them a trip to London. Bunetta admits to thinking the whole 1D thing was “a quick little fad” ahead of their first meeting with the band, but their charms were overwhelming. Everyone hit it off immediately.

“Niall showed me his ass,” Bunetta remembers of the day they recorded, “They Don’t Know About Us,” one of five songs they produced for Take Me Home (two are on the deluxe edition). “The first vocal take, he went in to sing, did a take, I was looking down at the computer screen and was like, ‘On this line, can you sing it this way?’ And I looked over and he was mooning me. I was like, ‘I love this guy!’”

Take Me Home dropped November 9th, just nine days short of Up All Night’s first anniversary. With only seven weeks left in 2012, it became the fourth best-selling album of the year globally, moving 4.4 million copies, per the IFPI; it fell short of Adele’s 21, Taylor Swift’s Red and 1D’s own Up All Night, which had several extra months to sell 4.5 million copies.

Kotecha, Falk and Yacoub’s tracks anchored the album. Songs like “Kiss You,” “Heart Attack” and “Live While We’re Young” were pristine pop rock that One Direction delivered with full delirium, vulnerability and possibility — the essence of the teen — in voices increasingly capable of navigating all the little nuances of that spectrum. And the songs 1D helped write (“Last First Kiss,” “Back for You” and “Summer Love”) remain among the LP’s best.

“You saw that they caught the bug and were really good at it,” Kotecha says of their songwriting. “And moving forward, you got the impression that that was the way for them.”

Like clockwork, the wheels began to churn for album three right after Take Me Home dropped. But unlike those first two records, carving out dedicated studio time for LP3 was going to be difficult — on February 23rd, 2013, One Direction would launch a world tour in London, the first of 123 concerts they’d play that year. They’d have to write and record on the road, and for Kotecha and Falk — both of whom had just had kids — that just wasn’t possible.

But it was also time for a creative shift. Even Kotecha knew that from his boy band history: album three is, after all, when you start moving on. One Direction was ready, too. Kotecha credits Louis, the oldest member of the group, for “shepherding them into adulthood, away from the very pop-y stuff of the first two albums. He was leading the charge to make sure that they had a more mature sound. And at the time, being in it, it was a little difficult for me, Rami and Carl to grasp — but hindsight, that was the right thing to do.”

“For three years, this was our schedule,” Bunetta says. “We did X Factor October, November, December. Took off January. February, flew to London. We’d gather ideas with the band, come up with sounds, hang out. Then back to L.A. for March, produce some stuff, then go out on the road with them in April. Get vocals, write a song or two, come back for May, work on the vocals, and produce the songs we wrote on the road. Back to London in June-ish. Back here for July, produce it up. Go back on tour in August, get last bits of vocals, mix in September, back to X Factor in October, album out in November, January off, start it all over again.”

That cycle began in early 2013 when Bunetta and Ryan flew to London for a session that lasted just over a week, but yielded the bulk of Midnight Memories. With songwriters Jamie Scott, Wayne Hector and Ed Drewett they wrote “Best Song Ever” and “You and I,” and, with One Direction, “Diana” and “Midnight Memories.” Bunetta and Ryan’s initial rapport with the band strengthened — they were a few years older, but as Bunetta jokes, “We act like we’re 19 all the time anyway.” Years ago, Bunetta posted an audio clip documenting the creation of “Midnight Memories” — the place-holder chorus was a full-throated, perfectly harmonized, “I love KFC!”

For the most part, Bunetta, Ryan and 1D doubled down on the rock sound their predecessors had forged, but there was one outlier from that week. A stunning bit of post-Mumford festival folk buoyed by a new kind of lyrical and vocal maturity called “Story of My Life.”

“This was a make or break moment for them,” Bunetta says. “They needed to grow up, or they were gonna go away — and they wanted to grow up. To get to the level they got to, you need more than just your fan base. That song extended far beyond their fan base and made people really pay attention.”

Production on Midnight Memories continued on the road, where, like so many bands before them, One Direction unlocked a new dimension to their music. Tour engineer Alex Oriet made it possible, Ryan says, building makeshift vocal booths in hotel rooms by flipping beds up against the walls. Writing and recording was crammed in whenever — 20 minutes before a show, or right after another two-hour performance.

“It preserved the excitement of the moment,” Bunetta says. “We were just there, doing it, marinating in it at all times. You’re capturing moments instead of trying to recreate them. A lot of times we’d write a song, sing it in the hotel, produce it, then fly back out to have them re-sing it — and so many times the demo vocals were better. They hadn’t memorized it yet. They were still in the mood. There was a performance there that you couldn’t recreate.”

Midnight Memories arrived, per usual, in November 2013. And, per usual, it was a smash. The following year, 1D brought their songs to the environment they always deserved — stadiums around the world — and amid the biggest shows of their career, they worked on their aptly-titled fourth album Four. The 123 concerts 1D had played the year before had strengthened their combined vocal prowess in a way that opened up an array of new possibilities.

“We could use their voices on Four to make something sound more exciting and bigger, rather than having to add too many guitars, synths or drums,” Ryan says.

“They were so much more dynamic and subtle, too,” Bunetta adds. “I don’t think they could’ve pulled off a song like ‘Night Changes’ two albums prior; or the nuance to sing soft and emotionally on ‘Fireproof.’ It takes a lot of experience to deliver a restrained vocal that way.”

“A lot of the songs were double,” Bunetta says, “like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”

Musically, Four was 1D’s most expansive album yet — from the sky-high piano rock of “Steal My Girl” to the tender, tasteful groove of “Fireproof” — and it had the emotional range to match. Now in their early twenties, songs like “Where Do Broken Hearts Go,” “No Control,” “Fool’s Gold” and “Clouds” redrew the dramas and euphorias of adolescence with the new weight, wit and wanton winks of impending adulthood. One Direction wasn’t growing up normally in any sense of the word, but they were becoming songwriters capable of drawing out the most relatable elements from their extraordinary circumstances — like on “Change Your Ticket,” where the turbulent love affairs of young jet-setters are distilled to the universal pang of a long goodbye. There were real relationships inspiring these stories, but now that One Direction was four years into being the biggest band on the planet, it was natural that the relationships within the band would make it into the music as well.

“I think that on Four,” Bunetta says with a slight pause, “there were some tensions going on. A lot of the songs were double — like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”

He continues: “It’s tough going through that age, having to spread your wings with so many eyeballs on you, so much money and no break. It was tough for them to carve out their individual manhood, space and point of view, while learning how to communicate with each other. Even more than relationship things that were going on, that was the bigger blanket that was in there every day, seeping into the songs.”

Bunetta remembers Zayn playing him “Pillowtalk” and a few other songs for the first time through a three a.m. fog of cigarette smoke in a hotel room in Japan.

“Fucking amazing,” he says. “They were fucking awesome. I know creatively he wasn’t getting what he needed from the way that the albums were being made on the road. He wanted to lock himself in the studio and take his time, be methodical. And that just wasn’t possible.”

A month or so later, and 16 shows into One Direction’s “On the Road Again” tour, Zayn left the band. Bunetta and Ryan agree it wasn’t out of the blue: “He was frustrated and wanted to do things outside of the band,” Bunetta says. “It’s a lot for a young kid, all those shows. We’d been with them for a bunch of years at this point — it was a matter of when. You just hoped that it would wait until the last album.”

Still, Bunetta compares the loss to having a finger lopped off, and he acknowledges that Harry, Niall, Liam and Louis struggled to find their bearings as One Direction continued with their stadium tour and next album, Made in the A.M. Just as band tensions bubbled beneath the songs on Four, Zayn’s departure left an imprint on Made in the A.M. Not with any overt malice, but a song like “Drag Me Down,” Bunetta says, reflects the effort to bounce back. Even Niall pushing his voice to the limits of his range on that song wouldn’t have been necessary if Zayn and his trusty falsetto were available.

But Made in the A.M. wasn’t beholden to this shake-up. Bunetta and Ryan cite “Olivia” as a defining track, one that captures just how far One Direction had come as songwriters: They’d written it in 45 minutes, after wasting a whole day trying to write something far worse.

“When you start as a songwriter, you write a bunch of shitty songs, you get better and you keep getting better,” Ryan says. “But then you can get finicky and you’re like, ‘Maybe I have to get smart with this lyric.’ By Made in the A.M. … they were coming into their own in the sense of picking up a guitar, messing around and feeling something, rather than being like, ‘How do I put this puzzle together?’”

After Zayn’s departure, Bunetta and Ryan said it became clear that Made in the A.M. would be One Direction’s last album before some break of indeterminate length. The album boasts the palpable tug of the end, but to One Direction’s credit, that finality is balanced by a strong sense of forever. It’s literally the last sentiment they leave their fans on album-closer “History,” singing, “Baby don’t you know, baby don’t you know/We can live forever.”

In a way, Made in the A.M. is about One Direction as an entity. Not one that belonged to the group, but to everyone they spent five years making music for. Four years since their hiatus and 10 years since their formation, the fans remain One Direction’s defining legacy. Even as all five members have settled into solo careers, Ryan notes that baseless rumors of any kind of reunion — even a meager Zoom call — can still set the internet on fire. The old songs remain potent, too: Carl Falk says his nine-year-old son has taken to making TikToks to 1D tracks.

“Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing,” Kotecha says

There are plenty of metrics to quantify One Direction’s reach, success and influence. The hard numbers — album sales and concert stubs — are staggering on their own, but the ineffable is always more fun. One Direction was such a good band that a fan, half-jokingly, but then kinda seriously, started a GoFundMe to buy out their contract and grant them full artistic freedom. One Direction was such a good band that songwriters like Kotecha and Falk — who would go on to make hits with Ariana Grande, the Weeknd and Nicki Minaj — still think about the songs they could’ve made with them. One Direction was such a good band that Mitski covered “Fireproof.”

But maybe it all comes down to the most ineffable thing of all: Chance. Kotecha compares success on talent shows like The X Factor to waking up one morning and being super cut — but now, to keep that figure, you have to work out at a 10, without having done the gradual work to reach that level. That’s the downfall for so many acts, but One Direction was not only able, but willing, to put in the work.

“They’re one of the only acts from those types of shows that managed to do it for such a long time,” Kotecha says. “Five years is a long time for a massive pop star to go nonstop. I know it was tiring, but they were fantastic sports about it. They appreciated and understood the opportunity they had — and, as you can see, they haven’t really stopped since. Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing. To have these boys — that had been sort of randomly picked — to also have that? It will never be repeated.”

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[stylesnews]

A bathroom figures significantly in the origin stories of at least two classic One Direction songs. The first will be familiar to any fan: Songwriter and producer Savan Kotecha was sitting on the toilet in a London hotel room, when he heard his wife say, “I feel so ugly today.” The words that popped into his head would shape the chorus of One Direction’s unforgettable 2011 debut, “What Makes You Beautiful.”

The second takes place a few years later. Another hotel room in England — this one in Manchester — where songwriters and producers Julian Bunetta and John Ryan were throwing back Cucumber Collins cocktails and tinkering with a beat. Liam Payne was there, too. At one point, Liam got up to use the bathroom and when he re-emerged, he was singing a melody. They taped it immediately. Most of it was mumbled — a temporary placeholder — but there was one phrase: “Better than words…” A few hours later, on the bus to another city, another show — Bunetta and Ryan can’t remember where — Payne asked, maybe having a laugh, what if the rest of the song was just lyrics from other songs?

“Songs in general, you’re just sort of waiting for an idea to bonk you on the head,” Ryan says from a Los Angeles studio with Bunetta. “And if you’re sort of winking at it, laughing at it — we were probably joking, what if [the next line was] ‘More than a feeling’? Well, that would actually be tight!”

“Better Than Words,” closed One Direction’s third album, Midnight Memories. It was never a single, but became a fan-favorite live show staple. It’s a mid-tempo headbanger that captures the essence of what One Direction is, and always was: One of the great rock and roll bands of the 21st century.

July 23rd marks One Direction’s 10th anniversary, the day Simon Cowell told Harry Styles, Niall Horan, Zayn Malik, Liam Payne and Louis Tomlinson that they would progress on The X Factor as a group. Between that date and their last live performance (so far, one can hope) on December 31st, 2015, they released five albums, toured the world four times — twice playing stadiums — and left a trove of Top 10 hits for a devoted global fan base that came to life at the moment social media was re-defining the contours of fandom.

It’d been a decade since the heyday of ‘N Sync and Backstreet Boys, and the churn of generations demanded a new boy band. One Direction’s songs were great and their charisma and chemistry undeniable, but what made them stick was a sound unlike anything else in pop — rooted in guitar rock at a time when that couldn’t have been more passé.

Kotecha, who met 1D on The X Factor and shepherded them through their first few years, is a devoted student of boy band history. He first witnessed their power back in the Eighties when New Kids on the Block helped his older sister through her teens. The common thread linking all great boy bands, from New Kids to BSB, he says, is, “When they’d break, they’d come out of nowhere, sounding like nothing that’s on the radio.”

In 2010, Kotecha remembers, “everybody was doing this sort of Rihanna dance pop.” But that just wasn’t a sound One Direction could pull off (the Wanted only did it once); and famously, they didn’t even dance. Instead, the reference points for 1D went all the way back to the source of contemporary boy bands.

“Me and Simon would talk about how [One Direction] was Beatles-esque, Monkees-esque,” Kotecha continues. “They had such big personalities. I felt like a kid again when I was around them. And I felt like the only music you could really do that with is fun, pop-y guitar songs. It would come out of left field and become something owned by the fans.”

“The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” says Carl Falk

To craft that sound on 1D’s first two albums, Up All Night and Take Me Home, Kotecha worked mostly with Swedish songwriters-producers Carl Falk and Rami Yacoub. They’d all studied at the Max Martin/Cheiron Studios school of pop craftsmanship, and Falk says they were confident they could crack the boy band code once more with songs that recalled BSB and ‘N Sync, but replaced the dated synths and pianos with guitars.

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The greatest thing popular music can do is make someone else think, “I can do that,” and One Direction’s music was designed with that intent. “The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” Falk says. “If you listen to ‘What Makes You Beautiful’ or ‘One Thing,’ they have two-finger guitar riffs that everyone who can play a bit of guitar can learn. That was all on purpose.”

One Direction famously finished third on The X Factor, but Cowell immediately signed them to his label, Syco Music. They’d gone through one round of artist development boot camp on the show, and another followed on an X Factor live tour in spring 2011. They’d developed an onstage confidence, but the studio presented a new challenge. “We had to create who should do what in One Direction,” Falk says. To solve the puzzle the band’s five voices presented, they chose the kitchen sink method and everyone tried everything.

“They were searching for themselves,” Falk adds. “It was like, Harry, let’s just record him; he’s not afraid of anything. Liam’s the perfect song starter, and then you put Zayn on top with this high falsetto. Louis found his voice when we did ‘Change Your Mind.’ It was a long trial for everyone to find their strengths and weaknesses, but that was also the fun part.” Falk also gave Niall some of his first real guitar lessons; there’s video of them performing “One Thing” together, still blessedly up on YouTube.

“What Makes You Beautiful” was released September 11th, 2011 in the U.K. and debuted at Number One on the singles chart there — though the video had dropped a month prior. While One Direction’s immediate success in the U.K. and other parts of Europe wasn’t guaranteed, the home field odds were favorable. European markets have historically been kinder to boy bands than the U.S.; ‘N Sync and Backstreet Boys found huge success abroad before they conquered home. To that end, neither Kotecha nor Falk were sure 1D would break in the U.S. Falk even says of conceiving the band’s sound, “We didn’t want it to sound too American, because this was not meant — for us, at least — to work in America. This was gonna work in the U.K. and maybe outside the U.K.”

Stoking anticipation for “What Makes You Beautiful” by releasing the video on YouTube before the single dropped, preceded the strategy Columbia Records (the band’s U.S. label) adopted for Up All Night. Between its November 2011 arrival in the U.K. and its U.S. release in March 2012, Columbia eschewed traditional radio strategies and built hype on social media. One Direction had been extremely online since their X Factor days, engaging with fans and spending their downtime making silly videos to share. One goofy tune, made with Kotecha, called “Vas Happenin’ Boys?” was an early viral hit.

“They instinctively had this — and it might just be a generational thing — they just knew how to speak to their fans,” Kotecha says. “And they did that by being themselves. That was a unique thing about these boys: When the cameras turned on, they didn’t change who they were.”

Social media was flooded with One Direction contests and petitions to bring the band to fans’ towns. Radio stations were inundated with calls to play “What Makes You Beautiful” long before it was even available. When it did finally arrive, Kotecha (who was in Sweden at the time) remembers staying up all night to watch it climb the iTunes chart with each refresh.

Take Me Home, was recorded primarily in Stockholm and London during and after their first world tour. The success of Up All Night had attracted an array of top songwriting talent — Ed Sheeran even penned two hopeless romantic sad lad tunes, “Little Things” and “Over Again” — but Kotecha, Falk and Yacoub grabbed the reins, collaborating on six of the album’s 13 tracks. In charting their course, Kotecha returned to his boy band history: “My theory was, you give them a similar sound on album two, and album three is when you start moving on.”

Still, there was the inherent pressure of the second album to contend with. The label wanted a “What Makes You Beautiful, Part 2,” and evidence that the 1D phenomenon wasn’t slowing down appeared outside the window of the Stockholm studio: so many fans, the street had to be shut down. Kotecha even remembers seeing police officers with missing person photos, combing through the girls camped outside, looking for teens to return to their parents.

At this pivotal moment, One Direction made it clear that they wanted a greater say in their artistic future. Kotecha admits he was wary at first, but the band was determined. To help manage the workload, Kotecha had brought in two young songwriters, Kristoffer Fogelmark and Albin Nedler, who’d arrived with a handful of ideas, including a chorus for a booming power ballad called “Last First Kiss.”

“We thought, while we’re busy recording vocals, whoever’s not busy can go write songs with these two guys, and then we’ll help shape them as much as we can,” Kotecha says. “And to our pleasant surprise, the songs were pretty damn good.”

At this pivotal moment, too, songwriters Julian Bunetta and John Ryan also met the band. Friends from the Berklee College of Music, Bunetta and Ryan had moved out to L.A. and cut a few tracks, but still had no hits to their name. They entered the Syco orbit after scoring work on the U.S. version of The X Factor, and were asked if they wanted to try writing a song for Take Me Home. “I was like, yeah definitely,” Bunetta says. “They sold five million albums? Hell yeah, I want to make some money.”

Working with Jamie Scott, who’d written two songs on Up All Night (“More Than This” and “Stole My Heart”), Bunetta and Ryan wrote “C’mon, C’mon” — a blinding hit of young love that rips down a dance pop speedway through a comically oversized wall of Marshall stacks. It earned them a trip to London. Bunetta admits to thinking the whole 1D thing was “a quick little fad” ahead of their first meeting with the band, but their charms were overwhelming. Everyone hit it off immediately.

“Niall showed me his ass,” Bunetta remembers of the day they recorded, “They Don’t Know About Us,” one of five songs they produced for Take Me Home (two are on the deluxe edition). “The first vocal take, he went in to sing, did a take, I was looking down at the computer screen and was like, ‘On this line, can you sing it this way?’ And I looked over and he was mooning me. I was like, ‘I love this guy!’”

Take Me Home dropped November 9th, just nine days short of Up All Night’s first anniversary. With only seven weeks left in 2012, it became the fourth best-selling album of the year globally, moving 4.4 million copies, per the IFPI; it fell short of Adele’s 21, Taylor Swift’s Red and 1D’s own Up All Night, which had several extra months to sell 4.5 million copies.

Kotecha, Falk and Yacoub’s tracks anchored the album. Songs like “Kiss You,” “Heart Attack” and “Live While We’re Young” were pristine pop rock that One Direction delivered with full delirium, vulnerability and possibility — the essence of the teen — in voices increasingly capable of navigating all the little nuances of that spectrum. And the songs 1D helped write (“Last First Kiss,” “Back for You” and “Summer Love”) remain among the LP’s best.

“You saw that they caught the bug and were really good at it,” Kotecha says of their songwriting. “And moving forward, you got the impression that that was the way for them.”

Like clockwork, the wheels began to churn for album three right after Take Me Home dropped. But unlike those first two records, carving out dedicated studio time for LP3 was going to be difficult — on February 23rd, 2013, One Direction would launch a world tour in London, the first of 123 concerts they’d play that year. They’d have to write and record on the road, and for Kotecha and Falk — both of whom had just had kids — that just wasn’t possible.

But it was also time for a creative shift. Even Kotecha knew that from his boy band history: album three is, after all, when you start moving on. One Direction was ready, too. Kotecha credits Louis, the oldest member of the group, for “shepherding them into adulthood, away from the very pop-y stuff of the first two albums. He was leading the charge to make sure that they had a more mature sound. And at the time, being in it, it was a little difficult for me, Rami and Carl to grasp — but hindsight, that was the right thing to do.”

“For three years, this was our schedule,” Bunetta says. “We did X Factor October, November, December. Took off January. February, flew to London. We’d gather ideas with the band, come up with sounds, hang out. Then back to L.A. for March, produce some stuff, then go out on the road with them in April. Get vocals, write a song or two, come back for May, work on the vocals, and produce the songs we wrote on the road. Back to London in June-ish. Back here for July, produce it up. Go back on tour in August, get last bits of vocals, mix in September, back to X Factor in October, album out in November, January off, start it all over again.”

That cycle began in early 2013 when Bunetta and Ryan flew to London for a session that lasted just over a week, but yielded the bulk of Midnight Memories. With songwriters Jamie Scott, Wayne Hector and Ed Drewett they wrote “Best Song Ever” and “You and I,” and, with One Direction, “Diana” and “Midnight Memories.” Bunetta and Ryan’s initial rapport with the band strengthened — they were a few years older, but as Bunetta jokes, “We act like we’re 19 all the time anyway.” Years ago, Bunetta posted an audio clip documenting the creation of “Midnight Memories” — the place-holder chorus was a full-throated, perfectly harmonized, “I love KFC!”

For the most part, Bunetta, Ryan and 1D doubled down on the rock sound their predecessors had forged, but there was one outlier from that week. A stunning bit of post-Mumford festival folk buoyed by a new kind of lyrical and vocal maturity called “Story of My Life.”

“This was a make or break moment for them,” Bunetta says. “They needed to grow up, or they were gonna go away — and they wanted to grow up. To get to the level they got to, you need more than just your fan base. That song extended far beyond their fan base and made people really pay attention.”

Production on Midnight Memories continued on the road, where, like so many bands before them, One Direction unlocked a new dimension to their music. Tour engineer Alex Oriet made it possible, Ryan says, building makeshift vocal booths in hotel rooms by flipping beds up against the walls. Writing and recording was crammed in whenever — 20 minutes before a show, or right after another two-hour performance.

“It preserved the excitement of the moment,” Bunetta says. “We were just there, doing it, marinating in it at all times. You’re capturing moments instead of trying to recreate them. A lot of times we’d write a song, sing it in the hotel, produce it, then fly back out to have them re-sing it — and so many times the demo vocals were better. They hadn’t memorized it yet. They were still in the mood. There was a performance there that you couldn’t recreate.”

Midnight Memories arrived, per usual, in November 2013. And, per usual, it was a smash. The following year, 1D brought their songs to the environment they always deserved — stadiums around the world — and amid the biggest shows of their career, they worked on their aptly-titled fourth album Four. The 123 concerts 1D had played the year before had strengthened their combined vocal prowess in a way that opened up an array of new possibilities.

“We could use their voices on Four to make something sound more exciting and bigger, rather than having to add too many guitars, synths or drums,” Ryan says.

“They were so much more dynamic and subtle, too,” Bunetta adds. “I don’t think they could’ve pulled off a song like ‘Night Changes’ two albums prior; or the nuance to sing soft and emotionally on ‘Fireproof.’ It takes a lot of experience to deliver a restrained vocal that way.”

“A lot of the songs were double,” Bunetta says, “like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”

Musically, Four was 1D’s most expansive album yet — from the sky-high piano rock of “Steal My Girl” to the tender, tasteful groove of “Fireproof” — and it had the emotional range to match. Now in their early twenties, songs like “Where Do Broken Hearts Go,” “No Control,” “Fool’s Gold” and “Clouds” redrew the dramas and euphorias of adolescence with the new weight, wit and wanton winks of impending adulthood. One Direction wasn’t growing up normally in any sense of the word, but they were becoming songwriters capable of drawing out the most relatable elements from their extraordinary circumstances — like on “Change Your Ticket,” where the turbulent love affairs of young jet-setters are distilled to the universal pang of a long goodbye. There were real relationships inspiring these stories, but now that One Direction was four years into being the biggest band on the planet, it was natural that the relationships within the band would make it into the music as well.

“I think that on Four,” Bunetta says with a slight pause, “there were some tensions going on. A lot of the songs were double — like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”

He continues: “It’s tough going through that age, having to spread your wings with so many eyeballs on you, so much money and no break. It was tough for them to carve out their individual manhood, space and point of view, while learning how to communicate with each other. Even more than relationship things that were going on, that was the bigger blanket that was in there every day, seeping into the songs.”

Bunetta remembers Zayn playing him “Pillowtalk” and a few other songs for the first time through a three a.m. fog of cigarette smoke in a hotel room in Japan.

“Fucking amazing,” he says. “They were fucking awesome. I know creatively he wasn’t getting what he needed from the way that the albums were being made on the road. He wanted to lock himself in the studio and take his time, be methodical. And that just wasn’t possible.”

A month or so later, and 16 shows into One Direction’s “On the Road Again” tour, Zayn left the band. Bunetta and Ryan agree it wasn’t out of the blue: “He was frustrated and wanted to do things outside of the band,” Bunetta says. “It’s a lot for a young kid, all those shows. We’d been with them for a bunch of years at this point — it was a matter of when. You just hoped that it would wait until the last album.”

Still, Bunetta compares the loss to having a finger lopped off, and he acknowledges that Harry, Niall, Liam and Louis struggled to find their bearings as One Direction continued with their stadium tour and next album, Made in the A.M. Just as band tensions bubbled beneath the songs on Four, Zayn’s departure left an imprint on Made in the A.M. Not with any overt malice, but a song like “Drag Me Down,” Bunetta says, reflects the effort to bounce back. Even Niall pushing his voice to the limits of his range on that song wouldn’t have been necessary if Zayn and his trusty falsetto were available.

But Made in the A.M. wasn’t beholden to this shake-up. Bunetta and Ryan cite “Olivia” as a defining track, one that captures just how far One Direction had come as songwriters: They’d written it in 45 minutes, after wasting a whole day trying to write something far worse.

“When you start as a songwriter, you write a bunch of shitty songs, you get better and you keep getting better,” Ryan says. “But then you can get finicky and you’re like, ‘Maybe I have to get smart with this lyric.’ By Made in the A.M. … they were coming into their own in the sense of picking up a guitar, messing around and feeling something, rather than being like, ‘How do I put this puzzle together?’”

After Zayn’s departure, Bunetta and Ryan said it became clear that Made in the A.M. would be One Direction’s last album before some break of indeterminate length. The album boasts the palpable tug of the end, but to One Direction’s credit, that finality is balanced by a strong sense of forever. It’s literally the last sentiment they leave their fans on album-closer “History,” singing, “Baby don’t you know, baby don’t you know/We can live forever.”

In a way, Made in the A.M. is about One Direction as an entity. Not one that belonged to the group, but to everyone they spent five years making music for. Four years since their hiatus and 10 years since their formation, the fans remain One Direction’s defining legacy. Even as all five members have settled into solo careers, Ryan notes that baseless rumors of any kind of reunion — even a meager Zoom call — can still set the internet on fire. The old songs remain potent, too: Carl Falk says his nine-year-old son has taken to making TikToks to 1D tracks.

“Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing,” Kotecha says

There are plenty of metrics to quantify One Direction’s reach, success and influence. The hard numbers — album sales and concert stubs — are staggering on their own, but the ineffable is always more fun. One Direction was such a good band that a fan, half-jokingly, but then kinda seriously, started a GoFundMe to buy out their contract and grant them full artistic freedom. One Direction was such a good band that songwriters like Kotecha and Falk — who would go on to make hits with Ariana Grande, the Weeknd and Nicki Minaj — still think about the songs they could’ve made with them. One Direction was such a good band that Mitski covered “Fireproof.”

But maybe it all comes down to the most ineffable thing of all: Chance. Kotecha compares success on talent shows like The X Factor to waking up one morning and being super cut — but now, to keep that figure, you have to work out at a 10, without having done the gradual work to reach that level. That’s the downfall for so many acts, but One Direction was not only able, but willing, to put in the work.

“They’re one of the only acts from those types of shows that managed to do it for such a long time,” Kotecha says. “Five years is a long time for a massive pop star to go nonstop. I know it was tiring, but they were fantastic sports about it. They appreciated and understood the opportunity they had — and, as you can see, they haven’t really stopped since. Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing. To have these boys — that had been sort of randomly picked — to also have that? It will never be repeated.”

#rollingstone #july20 #10years1d

[hlupdate]

A bathroom figures significantly in the origin stories of at least two classic One Direction songs. The first will be familiar to any fan: Songwriter and producer Savan Kotecha was sitting on the toilet in a London hotel room, when he heard his wife say, “I feel so ugly today.” The words that popped into his head would shape the chorus of One Direction’s unforgettable 2011 debut, “What Makes You Beautiful.”

The second takes place a few years later: Another hotel room in England — this one in Manchester — where songwriters and producers Julian Bunetta and John Ryan were throwing back Cucumber Collins cocktails and tinkering with a beat. Liam Payne was there, too. At one point, Payne got up to use the bathroom, and when he re-emerged, he was singing a melody. They taped it immediately. Most of it was mumbled — a temporary placeholder — but there was one phrase: “Better than words …” A few hours later, on the bus to another city, another show — Bunetta and Ryan can’t remember where — Payne asked, maybe having a laugh, “What if the rest of the song was just lyrics from other songs?”

“Songs in general, you’re just sort of waiting for an idea to bonk you on the head,” Ryan says from a Los Angeles studio, with Bunetta. “And if you’re sort of winking at it, laughing at it — we were probably joking, ‘What if [the next line was] “More than a feeling”? Well, that would actually be tight!’”

“Better Than Words,” closed One Direction’s third album, Midnight Memories. It was never a single, but became a fan-favorite live-show staple. It’s a midtempo headbanger that captures the essence of what One Direction is, and always was: One of the great rock & roll bands of the 21st century.

July 23rd marks One Direction’s 10th anniversary, the day Simon Cowell told Harry Styles, Niall Horan, Zayn Malik, Liam Payne, and Louis Tomlinson that they would progress on The X Factor as a group. Between that date and their last live performance (so far, one can hope) on December 31st, 2015, they released five albums, toured the world four times — twice playing stadiums — and left a trove of Top 10 hits for a devoted global fan base that came to life at the moment social media was redefining the contours of fandom. 

It’d been a decade since the heyday of ‘NSync and Backstreet Boys, and the churn of generations demanded a new boy band. One Direction’s songs were great and their charisma and chemistry undeniable, but what made them stick was a sound unlike anything else in pop — rooted in guitar rock at a time when that couldn’t have been more passé.

Kotecha, who met 1D on The X Factor and shepherded them through their first few years, is a devoted student of the history of boy bands. He first witnessed their power back in the Eighties, when New Kids on the Block helped his older sister through her teens. The common thread linking all great boy bands, from New Kids to BSB, he says, is, “When they’d break, they’d come out of nowhere, sounding like nothing that’s on the radio.”

In 2010, Kotecha remembers, “everybody was doing this sort of Rihanna dance pop.” But that just wasn’t a sound One Direction could pull off (the Wanted did it only once); and famously, they didn’t even dance. Instead, the reference points for 1D went all the way back to the source of contemporary boy bands.

“Me and Simon would talk about how [One Direction] was Beatlesque, Monkees-esque,” Kotecha continues. “They had such big personalities. I felt like a kid again when I was around them. And I felt like the only music you could really do that with is fun, poppy guitar songs. It would come out of left field and become something owned by the fans.”

To craft that sound on 1D’s first two albums, Up All Night and Take Me Home, Kotecha worked mostly with Swedish songwriters-producers Carl Falk and Rami Yacoub. They’d all studied at the Max Martin/Cheiron Studios school of pop craftsmanship, and Falk says they were confident they could crack the boy-band code once more with songs that recalled BSB and ‘NSync, but replaced the dated synths and pianos with guitars. 

The greatest thing popular music can do is make someone else think, “I can do that,” and One Direction’s music was designed with that intent. “The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” Falk says. “If you listen to ‘What Makes You Beautiful’ or ‘One Thing,’ they have two-finger guitar riffs that everyone who can play a bit of guitar can learn. That was all on purpose.”

One Direction famously finished third on The X Factor, but Cowell immediately signed them to his label, Syco Music. They’d gone through one round of artist development boot camp on the show, and another followed on an X Factor live tour in spring 2011. They’d developed an onstage confidence, but the studio presented a new challenge. “We had to create who should do what in One Direction,” Falk says. To solve the puzzle the band’s five voices presented, they chose the kitchen sink method and everyone tried everything.

“They were searching for themselves,” Falk adds. “It was like, Harry, let’s just record him; he’s not afraid of anything. Liam’s the perfect song starter, and then you put Zayn on top with this high falsetto. Louis found his voice when we did ‘Change Your Mind.’ It was a long trial for everyone to find their strengths and weaknesses, but that was also the fun part.” Falk also gave Niall some of his first real guitar lessons; there’s video of them performing “One Thing” together, still blessedly up on YouTube.

“What Makes You Beautiful” was released September 11th, 2011 in the U.K. and debuted at Number One on the singles chart there — though the video had dropped a month prior. While One Direction’s immediate success in the U.K. and other parts of Europe wasn’t guaranteed, the home field odds were favorable. European markets have historically been kinder to boy bands than the U.S.; ‘N Sync and Backstreet Boys found huge success abroad before they conquered home. To that end, neither Kotecha nor Falk were sure 1D would break in the U.S. Falk even says of conceiving the band’s sound, “We didn’t want it to sound too American, because this was not meant — for us, at least — to work in America. This was gonna work in the U.K. and maybe outside the U.K.”

Stoking anticipation for “What Makes You Beautiful” by releasing the video on YouTube before the single dropped, preceded the strategy Columbia Records (the band’s U.S. label) adopted for Up All Night. Between its November 2011 arrival in the U.K. and its U.S. release in March 2012, Columbia eschewed traditional radio strategies and built hype on social media. One Direction had been extremely online since their X Factor days, engaging with fans and spending their downtime making silly videos to share. One goofy tune, made with Kotecha, called “Vas Happenin’ Boys?” was an early viral hit.

“They instinctively had this — and it might just be a generational thing — they just knew how to speak to their fans,” Kotecha says. “And they did that by being themselves. That was a unique thing about these boys: When the cameras turned on, they didn’t change who they were.”

Social media was flooded with One Direction contests and petitions to bring the band to fans’ towns. Radio stations were inundated with calls to play “What Makes You Beautiful” long before it was even available. When it did finally arrive, Kotecha (who was in Sweden at the time) remembers staying up all night to watch it climb the iTunes chart with each refresh.

Take Me Home, was recorded primarily in Stockholm and London during and after their first world tour. The success of Up All Night had attracted an array of top songwriting talent — Ed Sheeran even penned two hopeless romantic sad lad tunes, “Little Things” and “Over Again” — but Kotecha, Falk and Yacoub grabbed the reins, collaborating on six of the album’s 13 tracks. In charting their course, Kotecha returned to his boy band history: “My theory was, you give them a similar sound on album two, and album three is when you start moving on.”

Still, there was the inherent pressure of the second album to contend with. The label wanted a “What Makes You Beautiful, Part 2,” and evidence that the 1D phenomenon wasn’t slowing down appeared outside the window of the Stockholm studio: so many fans, the street had to be shut down. Kotecha even remembers seeing police officers with missing person photos, combing through the girls camped outside, looking for teens to return to their parents.

At this pivotal moment, One Direction made it clear that they wanted a greater say in their artistic future. Kotecha admits he was wary at first, but the band was determined. To help manage the workload, Kotecha had brought in two young songwriters, Kristoffer Fogelmark and Albin Nedler, who’d arrived with a handful of ideas, including a chorus for a booming power ballad called “Last First Kiss.”

“We thought, while we’re busy recording vocals, whoever’s not busy can go write songs with these two guys, and then we’ll help shape them as much as we can,” Kotecha says. “And to our pleasant surprise, the songs were pretty damn good.”

At this pivotal moment, too, songwriters Julian Bunetta and John Ryan also met the band. Friends from the Berklee College of Music, Bunetta and Ryan had moved out to L.A. and cut a few tracks, but still had no hits to their name. They entered the Syco orbit after scoring work on the U.S. version of The X Factor, and were asked if they wanted to try writing a song for Take Me Home. “I was like, yeah definitely,” Bunetta says. “They sold five million albums? Hell yeah, I want to make some money.”

Working with Jamie Scott, who’d written two songs on Up All Night (“More Than This” and “Stole My Heart”), Bunetta and Ryan wrote “C’mon, C’mon” — a blinding hit of young love that rips down a dance pop speedway through a comically oversized wall of Marshall stacks. It earned them a trip to London. Bunetta admits to thinking the whole 1D thing was “a quick little fad” ahead of their first meeting with the band, but their charms were overwhelming. Everyone hit it off immediately.

“Niall showed me his ass,” Bunetta remembers of the day they recorded, “They Don’t Know About Us,” one of five songs they produced for Take Me Home (two are on the deluxe edition). “The first vocal take, he went in to sing, did a take, I was looking down at the computer screen and was like, ‘On this line, can you sing it this way?’ And I looked over and he was mooning me. I was like, ‘I love this guy!’”

Take Me Home dropped November 9th, just nine days short of Up All Night’s first anniversary. With only seven weeks left in 2012, it became the fourth best-selling album of the year globally, moving 4.4 million copies, per the IFPI; it fell short of Adele’s 21, Taylor Swift’s Red and 1D’s own Up All Night, which had several extra months to sell 4.5 million copies.

Kotecha, Falk and Yacoub’s tracks anchored the album. Songs like “Kiss You,” “Heart Attack” and “Live While We’re Young” were pristine pop rock that One Direction delivered with full delirium, vulnerability and possibility — the essence of the teen — in voices increasingly capable of navigating all the little nuances of that spectrum. And the songs 1D helped write (“Last First Kiss,” “Back for You” and “Summer Love”) remain among the LP’s best.

“You saw that they caught the bug and were really good at it,” Kotecha says of their songwriting. “And moving forward, you got the impression that that was the way for them.”

Like clockwork, the wheels began to churn for album three right after Take Me Home dropped. But unlike those first two records, carving out dedicated studio time for LP3 was going to be difficult — on February 23rd, 2013, One Direction would launch a world tour in London, the first of 123 concerts they’d play that year. They’d have to write and record on the road, and for Kotecha and Falk — both of whom had just had kids — that just wasn’t possible. 

But it was also time for a creative shift. Even Kotecha knew that from his boy band history: album three is, after all, when you start moving on. One Direction was ready, too. Kotecha credits Louis, the oldest member of the group, for “shepherding them into adulthood, away from the very pop-y stuff of the first two albums. He was leading the charge to make sure that they had a more mature sound. And at the time, being in it, it was a little difficult for me, Rami and Carl to grasp — but hindsight, that was the right thing to do.” 

“For three years, this was our schedule,” Bunetta says. “We did X Factor October, November, December. Took off January. February, flew to London. We’d gather ideas with the band, come up with sounds, hang out. Then back to L.A. for March, produce some stuff, then go out on the road with them in April. Get vocals, write a song or two, come back for May, work on the vocals, and produce the songs we wrote on the road. Back to London in June-ish. Back here for July, produce it up. Go back on tour in August, get last bits of vocals, mix in September, back to X Factor in October, album out in November, January off, start it all over again.”

That cycle began in early 2013 when Bunetta and Ryan flew to London for a session that lasted just over a week, but yielded the bulk of Midnight Memories. With songwriters Jamie Scott, Wayne Hector and Ed Drewett they wrote “Best Song Ever” and “You and I,” and, with One Direction, “Diana” and “Midnight Memories.” Bunetta and Ryan’s initial rapport with the band strengthened — they were a few years older, but as Bunetta jokes, “We act like we’re 19 all the time anyway.” Years ago, Bunetta posted an audio clip documenting the creation of “Midnight Memories” — the place-holder chorus was a full-throated, perfectly harmonized, “I love KFC!”

For the most part, Bunetta, Ryan and 1D doubled down on the rock sound their predecessors had forged, but there was one outlier from that week. A stunning bit of post-Mumford festival folk buoyed by a new kind of lyrical and vocal maturity called “Story of My Life.”

“This was a make or break moment for them,” Bunetta says. “They needed to grow up, or they were gonna go away — and they wanted to grow up. To get to the level they got to, you need more than just your fan base. That song extended far beyond their fan base and made people really pay attention.”

Production on Midnight Memories continued on the road, where, like so many bands before them, One Direction unlocked a new dimension to their music. Tour engineer Alex Oriet made it possible, Ryan says, building makeshift vocal booths in hotel rooms by flipping beds up against the walls. Writing and recording was crammed in whenever — 20 minutes before a show, or right after another two-hour performance.

“It preserved the excitement of the moment,” Bunetta says. “We were just there, doing it, marinating in it at all times. You’re capturing moments instead of trying to recreate them. A lot of times we’d write a song, sing it in the hotel, produce it, then fly back out to have them re-sing it — and so many times the demo vocals were better. They hadn’t memorized it yet. They were still in the mood. There was a performance there that you couldn’t recreate.” 

Midnight Memories arrived, per usual, in November 2013. And, per usual, it was a smash. The following year, 1D brought their songs to the environment they always deserved — stadiums around the world — and amid the biggest shows of their career, they worked on their aptly-titled fourth album Four. The 123 concerts 1D had played the year before had strengthened their combined vocal prowess in a way that opened up an array of new possibilities.

“We could use their voices on Four to make something sound more exciting and bigger, rather than having to add too many guitars, synths or drums,” Ryan says.

“They were so much more dynamic and subtle, too,” Bunetta adds. “I don’t think they could’ve pulled off a song like ‘Night Changes’ two albums prior; or the nuance to sing soft and emotionally on ‘Fireproof.’ It takes a lot of experience to deliver a restrained vocal that way.”

Musically, Four was 1D’s most expansive album yet — from the sky-high piano rock of “Steal My Girl” to the tender, tasteful groove of “Fireproof” — and it had the emotional range to match. Now in their early twenties, songs like “Where Do Broken Hearts Go,” “No Control,” “Fool’s Gold” and “Clouds” redrew the dramas and euphorias of adolescence with the new weight, wit and wanton winks of impending adulthood. One Direction wasn’t growing up normally in any sense of the word, but they were becoming songwriters capable of drawing out the most relatable elements from their extraordinary circumstances — like on “Change Your Ticket,” where the turbulent love affairs of young jet-setters are distilled to the universal pang of a long goodbye. There were real relationships inspiring these stories, but now that One Direction was four years into being the biggest band on the planet, it was natural that the relationships within the band would make it into the music as well.

“I think that on Four,” Bunetta says with a slight pause, “there were some tensions going on. A lot of the songs were double — like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”

He continues: “It’s tough going through that age, having to spread your wings with so many eyeballs on you, so much money and no break. It was tough for them to carve out their individual manhood, space and point of view, while learning how to communicate with each other. Even more than relationship things that were going on, that was the bigger blanket that was in there every day, seeping into the songs.”

Bunetta remembers Zayn playing him “Pillowtalk” and a few other songs for the first time through a three a.m. fog of cigarette smoke in a hotel room in Japan.

“Fucking amazing,” he says. “They were fucking awesome. I know creatively he wasn’t getting what he needed from the way that the albums were being made on the road. He wanted to lock himself in the studio and take his time, be methodical. And that just wasn’t possible.”

A month or so later, and 16 shows into One Direction’s “On the Road Again” tour, Zayn left the band. Bunetta and Ryan agree it wasn’t out of the blue: “He was frustrated and wanted to do things outside of the band,” Bunetta says. “It’s a lot for a young kid, all those shows. We’d been with them for a bunch of years at this point — it was a matter of when. You just hoped that it would wait until the last album.”

Still, Bunetta compares the loss to having a finger lopped off, and he acknowledges that Harry, Niall, Liam and Louis struggled to find their bearings as One Direction continued with their stadium tour and next album, Made in the A.M. Just as band tensions bubbled beneath the songs on Four, Zayn’s departure left an imprint on Made in the A.M. Not with any overt malice, but a song like “Drag Me Down,” Bunetta says, reflects the effort to bounce back. Even Niall pushing his voice to the limits of his range on that song wouldn’t have been necessary if Zayn and his trusty falsetto were available.

But Made in the A.M. wasn’t beholden to this shake-up. Bunetta and Ryan cite “Olivia” as a defining track, one that captures just how far One Direction had come as songwriters: They’d written it in 45 minutes, after wasting a whole day trying to write something far worse.

“When you start as a songwriter, you write a bunch of shitty songs, you get better and you keep getting better,” Ryan says. “But then you can get finicky and you’re like, ‘Maybe I have to get smart with this lyric.’ By Made in the A.M. … they were coming into their own in the sense of picking up a guitar, messing around and feeling something, rather than being like, ‘How do I put this puzzle together?’”

After Zayn’s departure, Bunetta and Ryan said it became clear that Made in the A.M. would be One Direction’s last album before some break of indeterminate length. The album boasts the palpable tug of the end, but to One Direction’s credit, that finality is balanced by a strong sense of forever. It’s literally the last sentiment they leave their fans on album-closer “History,” singing, “Baby don’t you know, baby don’t you know/We can live forever.”

In a way, Made in the A.M. is about One Direction as an entity. Not one that belonged to the group, but to everyone they spent five years making music for. Four years since their hiatus and 10 years since their formation, the fans remain One Direction’s defining legacy. Even as all five members have settled into solo careers, Ryan notes that baseless rumors of any kind of reunion — even a meager Zoom call — can still set the internet on fire. The old songs remain potent, too: Carl Falk says his nine-year-old son has taken to making TikToks to 1D tracks.

There are plenty of metrics to quantify One Direction’s reach, success and influence. The hard numbers — album sales and concert stubs — are staggering on their own, but the ineffable is always more fun. One Direction was such a good band that a fan, half-jokingly, but then kinda seriously, started a GoFundMe to buy out their contract and grant them full artistic freedom. One Direction was such a good band that songwriters like Kotecha and Falk — who would go on to make hits with Ariana Grande, the Weeknd and Nicki Minaj — still think about the songs they could’ve made with them. One Direction was such a good band that Mitski covered “Fireproof.”

But maybe it all comes down to the most ineffable thing of all: Chance. Kotecha compares success on talent shows like The X Factor to waking up one morning and being super cut — but now, to keep that figure, you have to work out at a 10, without having done the gradual work to reach that level. That’s the downfall for so many acts, but One Direction was not only able, but willing, to put in the work.

“They’re one of the only acts from those types of shows that managed to do it for such a long time,” Kotecha says. “Five years is a long time for a massive pop star to go nonstop. I know it was tiring, but they were fantastic sports about it. They appreciated and understood the opportunity they had — and, as you can see, they haven’t really stopped since. Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing. To have these boys — that had been sort of randomly picked — to also have that? It will never be repeated.”

#harry styles #louis tomlinson #one direction #1d ten #220720

[puttingtheotinunstoppable]

Standing on the edge of becoming an OT- reflections on the journey thus far

(EOM, 2021)

As I come to beginning of the end of my 3rd year studying occupational therapy, I am overwhelmed with anxiety of finishing four years of hard work, trying to secure good grades and planning out my future career in OT. These past 2 years have been so different from my previous preconceptions of what studying at university would be like.

Online learning seemed like a cop out at first, but as our lecturers adapted, our lessons became more challenging and innovative. These included stimulated activities like Simucase and various breakout rooms. As opposed to some of my peers’ point of view, I found online learning to work much better for me and I worked much better during this time. This has reflected in my marks which have risen drastically and overall clinical performance over these past 2 years.

I was able to achieve the above due to multiple environmental and internal changes. During the first lockdown, I struggled. I struggled to get out of bed to attend any sort of zoom, I struggled to pay attention and not tune the lecture out with zoom, I even struggled to find the motivation to have a shower some days as I didn’t even see the point of it all. With the hep of OT4’s telehealth and some serious introspection, I was able to begin a routine that actually worked for me. I looked at the positives like not having to spend 2 hours travelling to and from campus, no exams so I could do well on tests and assignments and have a good mark at the end, being able to record a demo video over and over again to ensure you get a good mark, and being able to attend from the comfort of my own home without the pressure of having to answer question when called upon like during a face-face lecture. So, I cleared and marked out a specific workspace, established a routine and found time in it for myself to relax or enjoy some recreational activities.

Pre-pandemic (in 2nd year) I was afraid that OT might not be for me because I figured I might not be able to cope, or it might be too difficult for me having to repeat anatomy. As a high achiever since primary school, it was a real punch to the gut to receive poor marks. I contemplated and rethought about staying in the degree multiple times. However, after comfortably passing anatomy, receiving those good marks after first semester in 2020, actually attending, understanding and participating in the lectures, I began to understand what was going on and I had a real confidence boost.

Although I am still weary of my new psych block, having only one day of psych experience in 2nd year before lockdown restrictions began, my passion for OT has since been reignited. This change can only be credited to serious introspection, change of perspective and actively wanting to do and be better in all aspects of life.

References

EOM. (2021). long-road-to Billboard success [Image]. Retrieved from https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.effortlessoutdoormedia.com%2Ftechnology-and-out-of-home-advertising-in-atlanta%2Flong-road-to-billboard-success%2F&psig=AOvVaw2ea58cBf-Q4KCKVLASY81a&ust=1630506457134000&source=images&cd=vfe&ved=0CAgQjRxqFwoTCIiYyZ682_ICFQAAAAAdAAAAABAD

Reflections From a Final Year Undergraduate. (2021). Retrieved 31 August 2021, from https://blogs.lse.ac.uk/studentsatlse/2021/04/01/reflections-from-a-final-year-undergraduate/

[tennessoui]

50 but its Obi-Wan tired and stressed going through a messy divorce who mets ray of sunshine Anakin ❤

This is basically the Prologue to the story of how Homeowner Obi-Wan Adopts Two Children and A Husband Without Realizing It

50. Going Through a Divorce (Divorced!Obi-Wan)

Buy a house, they had said. You have a wife. You should have a house, they had said. The market is in your favor right now, they had said. This area is nice. Good for kids if that’s something you’re thinking about. Buy a house.

No one ever told Obi-Wan what to do if your wife divorces you and moves out, but the house is legally in your name and the weight of the mortgage is slowly killing you because while you’re a great English professor, you don’t exactly get paid a commission for how many kids decide to take your class after looking at your chili pepper score on Rate My Professor.

Obi-Wan sits in his study with the windows shut and the door closed. It’s the only room in the house that doesn’t feel like something’s glaringly missing. Every other place held at least a few of Satine’s possessions, and if he leaves the shelter of this one final safe haven, he knows himself well enough to know that he’ll prod at all those little absences the way a tongue ghosts over the pit left by a lost tooth.

But this study has always been his, and it still feels like it now. And while the house is, arguably, also still his and has always been, it feels too big now. Too empty.

He is not enough for the house either, it seems.

Obi-Wan snorts at the thought and pours himself a drink. He’s getting maudlin in his old age. Sentimental. What he should be doing is thinking of the logistics going forward, although he knows few. How To Get Divorced was never something they taught in schools, nor something he had thought to be in his future.

How To Pick Up The Pieces of Your Shattered Heart had been a tough lesson to learn a year ago when his wife--ex-wife now--had broached the topic of separation. Separation, as if that wasn’t simply a long-drawn out end. She hadn’t taken that criticism lightly, nor should she have. Their ensuing fight had only ended when she had gasped wetly through her tears and told him, “See? Who are we anymore? I don’t want to fight anymore, Obi.”

To which Obi-Wan had said, of course, “Don’t call me that.” and Satine had left without another word. Given enough time to reflect upon her argument, he did find the logic in it. They’d married young and then changed in ways that couldn’t click together. Obi-Wan would have been fine with continuing to try to force them to work, but Satine had never been one to hate herself in that way.

The papers had come on a rainy day in October. The love had stayed on, unwelcome and bitter and agonizing in turn, well into April. Now it’s autumn again, and Obi-Wan has a house that’s too big for just him and no wife or partner or lover to fill its gaps.

There’s a loud ping of his phone that brings him out of his thoughts. It’s a message from Quinlan, just a link. Obi-Wan almost doesn’t click it, not in the mood for a funny video or in-depth but frightfully out-of-touch opinion on a recent movie. Then Quinlan texts again. I know you like your blondes fiery is all he says, and now Obi-Wan has to know.

He touches the link and it takes him to a posting on a website dedicated to finding roommates. The text loads slowly, probably because there’s a lot of it.

IN NEED OF ROOMMATE ASAP the title screams. Reflexively, Obi-Wan checks the time-stamp, but this was posted only a day ago. His heart warms at the idea of Quinlan checking this website trying to solve Obi-Wan’s problem of the mortgage for him.

Then he keeps reading.

Hi, I’m Anakin, 26, it reads. Working in tech right now--should make any sort of income required. Recently and unexpectedly kicked out of my place. Parent of two toddlers, but they’re angels (separately)! They are past the point of drawing on walls and they are potty-trained. Would be willing to put down a pet deposit but no pets, just the twins. Being evicted in the next five days so desperately need place. Twins’ mom could take twins while I move out and then move in but she can’t have them longer than a couple of weeks because of her job.

Also full disclosure, I have to move out because I “assaulted” my landlord! He was being a creep about my friend and touched her without her consent. I’m not actually a violent person and will not hit you! Just if you call my landlord for a tenant reference, he won’t be nice. He’ll be very, very biased.

Before twins can move in, I will need to run a background check on you as well just to make sure you’re not a creep (creeps DNI)

Let me know if you’re interested!

(Please give me a chance.)

There’s a couple of pictures at the bottom, just after the man’s phone number and email. One depicts a smiling, attractive man, dressed in a t-shirt and jeans with a young child on each hip. The next is a close-up of the kids in fancy clothing, probably to prove that they’re not messy. The girl is scowling at the camera while the boy is crying though, so the overall effect is ruined. Still, Obi-Wan finds iit endearing. The last picture is Anakin’s mugshot, the man in question looking decidedly which makes Obi-Wan snort. He appreciates the level of honesty and loyalty Anakin’s clearly showing.

But this is a lot.

Obi-Wan hasn’t started to look into the option of finding a roommate to lessen the burden of his mortgage payments. And to jump straight to a man with a violent past and his two small children?

His house would be absolute chaos. He and Satine had always kept an orderly space, one that featured long bouts of quietly enjoying the other’s company from opposite ends of the living room, but there would be no quiet with two children and what he’s positive is a very lively man.

But hadn’t he just been thinking that the house was too silent now? Too empty? It would be--

Well. It wouldn’t feel like his and Satine’s house anymore. It would be unrecognizable.

Somehow he’s jotting down the number before he even realizes what he’s doing. And then he’s putting it into his phone. And then it’s ringing.

“Hello?” A distinctly masculine voice says on the other side. Obi-Wan clears his throat, suddenly unsure of what to say.

“Hi, hello yes. I’m calling about the ad you posted online yesterday?”

“What about it?” Anakin asks slowly, sounding suspicious. Obi-Wan has to fight to roll his eyes. If he hadn’t already committed himself to following through on the worst idea he’s had in years, he’d hang up at the other man’s clear distrust. He wants to berate him that this is not how you sell yourself to potential homeowners, but that isn’t his place.

“My name is Obi-Wan Kenobi,” he says instead. “And I fear I may be your only hope.”

#asks #my fics #narrators voice: it was not actually the worst idea he's had in years #but he was truly anakins only hope #this was self-indulgent fun to write not serious at all #obikin #KUWSK #prompt fill

[academian-rhapsody]

Mikuyami’s Giant Guide to Self-Studying Japanese

If you’re like me, you’ve always wanted to be able to switch tabs while you’re watching anime and still be able to understand what they’re saying. Chances are you’ve watched enough anime to know a few words here and there and even understand a sentence once in a while, but you’re still not anywhere close to fluent. To get fluent, you’re going to have to do a lot more than watch anime. This is what this guide is for. Japanese isn’t an easy language to learn, and knowing which resources are good is important if you want to learn it properly. While the resources are the focus of this guide, it’s very important to read the stuff I’ve written about them. I know the walls of text look scary, but just trust me.

Note: all resources listed are completely free unless otherwise stated.

And yes, all the links in this guide will open in a new tab when you click on them. You’re welcome.

For now, let’s start with the basics - Hiragana. Hiragana is the first thing you should learn and teaches you Japanese pronounciation, reading, and later on, grammar. Here are a few good resources for learning it:

Websites:

Really, the only website I’d recommend (that’s completely free) is Memrise. Memrise is great for learning Hiragana/Katakana and vocab. It’s used for other school subjects like math and science, but I’d say it’s the best for learning languages. You’ll learn words and characters quickly, but it’s important to do it for 10-20 minutes each day. HOWEVER: While Memrise is an amazing vocab resource, it isn’t optimal for grammar at all. It’s also important to know which courses are good and which ones aren’t.*

Phone apps:

Kana Mind - This is by far my favorite resource for learning Hiragana (and Katakana!). When I decided to start learning Japanese, I wasn’t sure where to start, so I just downloaded some simple phone apps. I’m glad I did - this app is extremely easy to use and I quickly learned Hiragana. Just like Memrise, though, you should review the characters for 10-20 minutes fairly often.

TenguGo Kana - A lot more information is covered in this app. While Kana Mind is good for learning the characters, TenguGo is good for learning about the characters. It also includes Hiragana and Katakana charts for quick reference.

Memrise - Yes, Memrise also has a phone app! It works just as well as the website (in my opinion).

Kana Draw - Learning the stroke order for Hiragana is important, and this app teaches you just that. It’s very simple, but again, you should practice consistently.

Very important: You should also practice writing Hiragana! With correct stroke order, of course. All that’s needed to do this is a pen and paper. This chart shows the stroke order for all the Hiragana, but you shouldn’t look at it constantly - it’s more of a quick reference thing, and you won’t learn as well if you rely on it too much.

Really, you don’t need any fancy resources to learn Hiragana! You shouldn’t be spending any money to learn it, either. What I’ve listed should suffice. Hiragana is straightforward and you don’t need to do anything but memorize what sound each character makes. Most of these resources also cover Katakana, which is what you should be learning next.

*In Japanese, there’s a formal way of speaking and causal way of speaking. Some Memrise courses only teach formal, and while that’s important to learn, so is casual! There isn’t really a good way to tell you how to distinguish formal courses from casual ones, so for now I’ll just say… trust your instinct. That’s terrible advice, I know, but just focus on learning vocab and be aware that you still have to learn either causal or formal.

Because most of the Hiragana resources I listed also include Katakana, it’s time to move onto the more scary stuff - grammar. No, we don’t need to start learning Kanji quite yet, as the Kanji can be read with the Hiragana sounds (that’s why Hiragana is so important to learn). You’ll need more resources to learn grammar, but the go-to man for this is…

Tae Kim.

This guy has a special place in my heart. His Japanese grammar guide, guidetojapanese.org, is arguably the best free Japanese guide out there. I’ve gotten more out of this one site (it can be purchased as a book too) than out of every other resource I’ve used. He provides videos as well as explanations and examples. However, it helps a lot to take notes and copy examples down for future reference. To give you an idea of what I mean, here’s a page of notes I took in a simple composition notebook: Of course, there’s no format you have to follow while taking notes - just do whatever makes sense to you and what helps you. Taking notes also gives you practice with writing characters. The great thing about Tae Kim’s guide is that it gives polite examples as well as casual examples (as you can see from my notes). Also, throughout the guide, you learn plenty of vocab and even Kanji. While this guide covers Japanese grammar really well and could be the only resource you’ll need, sometimes you need more examples or explanations.

This website is kind of like a wiki for Japanese grammar. I haven’t had much experience with it so I can’t say much about it, but it provides plenty of examples and explanations, and is broken into different levels so the easy grammar stuff is separate from the more complicated grammar. The content is contributed by other people (which is why it’s like a wiki), so there’s lots of stuff to look through.

Now comes the wall in the Japanese language: Kanji. This is where a lot of people stop learning Japanese because they get scared off by it. Yes, Kanji is scary and you’ll have to learn a lot of Kanji to become fluent in Japanese, but now that you’ve come this far you might as well keep going. Since there’s so much to learn with Kanji, you’re gonna need fancier resources and sometimes - sorry to say - ones that you have to pay for.

iKnow! is overall a great resource for learning Japanese. It provides a tutorial on how to use it, and helps with Kanji, listening, etc. I gave it a try and really liked it - it’s very organized and spends extra time reviewing the words/Kanji you have trouble with. The one downside to it is that you have to pay to use it. There’s a free trial, which you can actually learn a lot from, but if you really wanna learn vocab/Kanji then you’re gonna wanna get the membership.

Anki is available as a phone app and downloadable program as well as online (but the program should be the first and most used). It’s like flashcards - you’re shown a Kanji, and you have to know what that Kanji means. You then “flip” the card to see the correct answer. I’m calling them flashcards, but they’re just called cards and sets of cards are called decks. You can make your own cards, but decks can be downloaded from Ankiweb. Anki is completely free and I’ve heard lots of good things about it.

Tofugu is a site dedicated to learning Japanese and Japanese culture. It has plenty of information about Kanji readings, Kanji stroke order, etc., and even provides other resources for learning Kanji. While it doesn’t provide vocab, it’s good for learning about Kanji.

EDIT: I’ve recently discovered a phone app called KanjiSenpai and it has quickly become my most favorite resource for learning Kanji. You can learn tons of Kanji using this app, and it even teaches you the stroke order of each one (tips for guessing a Kanji’s stroke order can be found on Tofugu). In addition, it keeps track of how long you studied each day. I’d highly recommend this app for learning Kanji.

Other Resources

Sometimes you need to look up a Kanji’s stroke order, or maybe you just wanna learn more about Japanese culture. This part of the guide is for random resources that help with Japanese or provide information about it.

Jisho.org Basically a Kanji dictionary. You simply search for a Kanji, and the meaning, pronunciations, and stroke order for it can be found. I refer to it a lot, sometimes when reading Tae Kim’s guide and other times when I’m just curious about a Kanji.

Maggie Sensei This website has information about Japanese culture, manners, mini Japanese lessons, and more. I’d say it’s more for intermediate Japanese learners, but there’s still a lot to be learned regardless of how much Japanese you know.

Youtubers There’s quite a few people that track their lives in Japan through vlogs. These videos provide tons of information about Japanese culture, and sometimes there’s videos about learning Japanese. My favorite person that makes these sorts of videos is kanadajin3. She has lots of videos about Japanese culture and provides tips about learning Japanese for all levels of learners. Another Youtuber I’d recommend is jyuusankaidan. She basically does the same thing as kanadajin3, but also includes vocab from her videos in the description. Finally, Medama Sensei makes videos mainly about Japanese society. Though his channel doesn’t seem to be active anymore, his videos were very interesting to watch.

Anime Yeah, okay, I said anime isn’t good for learning Japanese, but that’s only if you want to become fluent in it. There’s still a lot you can learn from watching anime - that is, if you listen carefully and pay attention to what the characters are saying, how they say it, and when they say it. If you really wanna test out how much you’ve learned, try watching a non-dubbed version of the anime and see if you can understand what everyone’s saying. This can also help you learn faster and get used to how Japanese sounds.

Japanese Songs Something I’ve only started doing recently is taking a few lines of lyrics from a Japanese song and learning them thoroughly. This means learning the meaning of all the Kanji in those lyrics, learning how to write them (thank you Jisho.org), and learning how to pronounce everything (find the Romaji lyrics). This obviously helps with learning multiple aspects of Japanese.

As a final little note, I’d say that the most important thing to do in order to learn Japanese is to just keep at it. When I started learning Kanji, I was overwhelmed by the fact that each Kanji had multiple pronounciations, but as you learn more, things start making more sense. I’ve definitely noticed a lot of improvement in my understanding of Japanese. So, always try to stay motivated in your studying!

Well, that just about does it for this guide. If you know of any other good resources that I didn’t list, feel free to add them onto this post. Also, if you have any questions, don’t hesitate to send me an ask! I’d be more than happy to answer your question. I’m no expert and I’m still far from being fluent in Japanese, but I’ll do my best to help you.

Thank you for reading and happy studying!

#the reason I copy-pasted is bc I couldnt hardly read on the saved version #mikuyami #not mine #japanese #langauge #language learning

[randomestfandoms-ocs]

Drop the Evie essay you wrote

okay so first of all it wasn’t really an essay the way some of my ramblings are, more like just me writing down all of my thoughts in a vaguely coherent manner bc my brain was running too fast to really organize it 

and second of all, just to be on the safe side, these are the potential trigger warnings that I would give for the essay — I don’t know if they all actually come up or not, but better safe than sorry, so proceed with caution!

Potential TWs: being outed, parental neglect, character death (canon), suicide attempts (semi-canon), eating disorders, lots of mental health issues, and lots of general trauma and feelings of never being good enough, and canon typical references to drinking/drugs/partying/etc

so just like a fun fact, Evie’s vitamin water of choice is zero sugar strawberry lemonade and yes i spent too long reading reviews on different flavours all because gossip girl did an entire product placement episode

anyways now onto real thoughts let’s go lesbians let’s go

so okay evie has a... very negative experience with Lily’s various boyfriends and husbands.  When Evie was younger she was always hopeful that this time would be different, that they’d be a family, that her mom would actually stick around, and every single time she’s been let down and left heartbroken.  When her mom starts dating Bart, Evie is very against it but she just can’t be bothered to even try to talk to Lily — Lily will date him, maybe get married, play house, abandon her children, then get divorced, and the cycle will repeat, and Lily will never give a shit about how her children feel about it.  Bart is just the latest rich man for Lily to set her sights on.  Given the overall shittiness of most of Lily’s exes, Evie had figured she would be a lot more vocally against Lily dating again, but Bart... 

Bart himself may terrify Evie, but Evie’s unwavering faith that Chuck will always protect her outweighs that fear, and Evie has long since given up on her mom caring about her opinions so she just takes comfort in the fact that Chuck will be there and tries to just ignore the rest — and the fact that Bart is pretty much always away does help with that.  That being said, she was very distraught when Bart spends season 1 christmas with them, but then Bart’s “present” for her was flying Chuck home for a few days because Lily mentioned that Eric was teasing Evie about being excited about having Chuck as a brother, and he's trying to semi-win over the kids (aka bribe them into accepting him as Lily’s fiancé)

Evie speaks several languages!  She started learning French and Spanish at a very young age, and then picked more up from Lily’s various husbands.  She’s not fluent in all of them but she can hold conversations in eight languages — and four of them were from Lily’s boyfriends (and italian was half pieced together from French and Spanish), and she just keeps learning more because she tries to keep herself too busy to think at any given moment

Rufus is her favourite step-dad by far, but Chuck is her favourite step-sibling (and second favourite sibling, after Eric).  That being said, Bart was surprisingly decent to her because even he quickly figured out that Evie has the innate ability to get Chuck to do basically anything, and he wanted her on his side, only he underestimated how much Evie hates him for treating Chuck like shit — as she says in 2x07, “if you want us to be a family, you should learn how to be a dad”

Evie has a bit of a thing for stealing coats lmao — it’s not unusual to find her stealing Chuck, Eric, Theo, or even Nate’s jackets when she gets cold or starts feeling particularly self conscious.  At the housewarming party she actually gets to bothered by all the media watching her constantly that Chuck goes and gets her one of his blazers to replace the cropped one she was wearing, and she immediately feels a bit more at east

Evie is a jock like it’s understated but she’s on multiple sports teams at school and plays outside of school too — she’s also in dance classes several times a week, along with private vocal lessons, and being part of every theatre production at Constance Billard (musicals and plays), and is on the yearbook committee.  Basically, Evie needs a fucking nap, and with a lot of pushing from Chuck and Eric and Theo (to balance out Blair “do absolutely everything in the name of Yale” Waldorf) she does eventually ease up on her extra-curriculars

She holds far too much power in the Constance-St Jude hierarchy.  She’s a freshman, but it’s well known that Evie is completely untouchable.  Some people (cough Jenny) might try to cross Blair, but no one is stupid enough to go after Evie — she’s not just Blair’s protégée, she’s also under Chuck’s protection.  And when Jenny does try to cross her in season 3 (physical and emotional bullshit, public humiliation, telling the entire school she’d tried to kill herself and had been at Ostroff not “in florida”), well... she learns that even being family won’t stop her entire life from being destroyed

Speaking of Jenny... that’s a very messy relationship — I want to like Jenny, I really do, but I just... don’t so far.  They’re a very sweet relationship early on, neither of them had dated before and they were just really smitten with each other and things were good.  There were definitely some issues because of the Jenny-Blair war, but they’d been okay — or so Evie had thought, until Jenny dumped her by means of introducing everyone to her new boyfriend, Asher.  Then of course there’s the party and Jenny outing her, and then just not talking to her for months until she needs something from them (an in to the White Party).  Eric manages to convince Evie to play nice, but he does so under the impression that Jenny had apologized to Evie — he didn’t know she’d only apologized to him.  Eventually Jenny does apologize and Evie tries to forgive her, and she keeps giving Jenny more and more second chances (especially once they become step sisters), but Jenny really just keeps hurting Evie to get on top because with Blair gone, Evie immediately becomes the new queen, and Jenny cares more about being queen than being nice.  Little does she realize that part of why Evie became queen with no challenge is because she’s nice.

and regarding Evie’s other relationships... so serena was a really good big sister when Eric & Evie were kids — Blair was the responsible sister and Serena was the fun sister, but it was a good balance and it worked.  But when the twins were around eleven and Serena was around 13, she became besties with Georgina Sparks, and everything went to shit.  Serena started getting into partying and drinking and drugs and became just as flighty and unreliable as Lily, which takes a significant toll on the twins’ mental health — side note, one of their therapists at the Ostroff Centre believes that their significant codependency stems from the abandonment issues they have as a result of Lily and Serena just up and leaving them whenever anything “better” comes along.

And unfortunately for the twins, this was around the same time (grade 6) that Theo got sent to boarding school, so really they lost both their sister and their best friend at the same time, and Theo leaving also messed up the overall group dynamics and they half lost Nate too — he was still in their lives but he went from being the dad to Blair’s mom to being more of a big brother, and there was this sort of hole that didn’t get filled until a couple of years later.

And of course, a lot of it then fell to Blair to try to fill that hole and the holes left by Serena and Lily and went from being sort of “mom friend big sister” to “literally the closest thing we have to a mom”, which is also just a lot of pressure for a thirteen year old girl and part of why Blair and Chuck got a lot closer after he ended up becoming their dad was because she finally had someone that she could talk to too.

Also like full disclosure, Chuck never really intended to become their dad.  He started off as a reluctant big brother because he was Nate’s best friend and Nate was the dad friend when they were younger, and Evie just kind of decided that she loved him and like no one can argue with Evie so all of a sudden he was part of the family.  He doesn’t really become dad until the van der Woodsens move into the hotel because suddenly Eric and Evie are just always there, and he doesn’t even realize it until months later, after Serena is gone and he realizes that he’s been skipping parties to like play mario kart and shit with the twins and Blair is just like “lmao yeah buddy you’re the last one to get this memo”

and then there’s this list that I made of the NJBC’s roles in raising the twins and theo back when they were younger

Blair: holds their hands to cross the street, teaches them not to talk to people who wear sneakers or to strangers, teaches them how to dress themselves like respectable people, makes them finish their homework before watching tv, hates all of their nannies and only trusts dorota to take care of them Nate: teaches them to tie their laces and their ties, plays video games and sports with them, helps them with homework and doesn't get impatient when they struggle, lets them use his notebooks to draw in when they're bored Chuck: will destroy anyone who hurts them, teaches them street smarts and how to tell when someone is lying, is the one who lets them do dumb and reckless things because he'd rather they do them when he's there to get in trouble, still refuses to believe that they know what sex is Serena: reminded them that it's okay to have fun and draw outside the lines, stood up for them when lily was being a shit mom and always tried to protect them from the worst of her neglect, came up with games to play when they were sad to take their minds off whatever is upsetting them

And Theo!!!!!!  Theo has been their best friend for their entire lives!  They’ve known him since they were babies and the three of them have always been inseparable!  Like highkey they were just a more functional NJBC lmao, and we love them for it!  Theo getting sent to boarding school was really hard on all three of them but they stayed in constant contact and whenever Theo is back in the city, it’s almost impossible to see them not together.  Theo does know that they were in the Centre, so once he’s back full time, he’s spending as much time visiting them as he can!  Even when Eric and Theo are dating (and later when Evie and Theo are dating), the group dynamics really never change!  It’s still always the three of them, and sometimes Jenny in s1, they’re still each other’s family, and they’re still just a bit too interdependent to be entirely healthy (it’s the trauma and neglectful parents)

on a slightly related note, neither of the twins drink anything other than champagne and sometimes wine, and neither of them touch drugs at all, and it’s entirely because of Serena.  They’ve both seen how much she’s changed since she got into that scene, and especially since ‘liking partying’ turned into ‘alcohol addiction’, and they’re both too afraid of ending up like that to even take the risk.  It’s something that definitely sets them apart from pretty much any of their peers, but they’ve gotten very good at just laughing it off with a “hey, I just don’t want to end up on Gossip Girl tomorrow” which people generally accept

(that being said, Evie did smoke for a while pre-canon bc cigarettes curb hunger, but she hasn’t smoked at all since ending up in the Centre, and once she’s out too many people have an eye on her for her to even try, and she does want to stop)

(TW ATTEMPTED SUICIDE, fairly detailed discussion) so okay the breaking point for the twins... lily had just gone awol again and Blair was away visiting her dad and evie was at the archibalds’ house hanging out with theo, who was home for a weekend, and eric didn’t want to call anyone because lily’s disappearance had left him in a spiral of feeling annoying and like people didn’t really want him in their lives and there wasn’t a specific trigger but instead of the spiral slowing down or evie/chuck/blair being able to pull him out of it, it just kept getting worse until he was slitting his wrist in the bathroom — only Evie had just gotten home and when he didn’t reply to her calling his name, she got freaked out and started looking for him and when she saw him, she just... couldn’t deal.  She called 911 for eric but then she was just in the bathroom and covered in his blood and she didn’t know what to do and she needed to calm down so she grabbed a bottle of valium that she thinks was Lily’s but instead of just taking one pill she ended up taking all of them and downing them with a bottle of vodka serena had hidden — once she realized what she’d done she called Chuck and basically just said “I think I fucked up” and Chuck freaks out (understandably) and rushes to their suite and gets there basically just in time to see both of them being loaded into an ambulance; he claims he’s their brother and rides with them to the hospital where he calls blair, and arranges for his jet to pick her up asap, and then tries (unsuccessfully) to get in touch with lily

#lizziesxltzmxn #ask #answered #evie van der woodsen #about evie #freshman generation

[saleintothe90s]

422. ”Carrie” (May 12 - May 15 1988)

I adore reading about flops. One of my favorite flops to read about is Carrie the musical. A doomed production from the start. Millions of dollars wasted. Bad costumes. Filler songs.

Similar to my Simpsons season 10 review, I wanna give something to the worst aspects of the show. With Simpsons, bad episodes were awarded Marge’s homemade Pepsi. For Carrie, I think I’m going to give the bad parts the “Vending Machine Maxi Pad” award. 

As most anybody who follows Broadway flops knows, clips from Carrie are scarce and are in poor condition on YouTube. Most of the actual clips are from when the show was in test productions in Stratford Upon Avon, but the music has been replaced with the Broadway soundboard.  So, keep that in mind. Most of the time you can’t even make out what’s going on. Here’s the closest copy of the entire show I could find on YouTube, from the Sratford Upon Avon production. 

I know people bash the musical, and sometimes it’s rightfully so, but two things are consistent: Linzi Hateley who played Carrie, and that orchestra that is on.point. Check out the overture.

(source)

The show begins with girls cheering in gym class in the beginning of an aerobics lesson?  The white gym shorts look like diapers. That’s the first of many costume mistakes. 

The song is a banger, I love Darlene Love playing the gym teacher, she’s my favorite part of the song. The only part that is cringey to me is when the girls sing “I go CrAzZyyyyy” and they get on the ground and dance like a toddler having a temper tantrum in a Toys R Us. Since the audio quality is so bad in these clips, I thought at one point the girls were singing about not being caught picking their nose, no, the lyric is:

Bought the clothes, did my nose,

Near the end of the song, the girls are on these rising rafters? It took me for-ever to realize that they were simulating a cheerleader pyramid, and that Carrie had snuck in near the end of the number to be on the bottom of the pyramid. Oh, and she causes it to fall and someone tells her to eat shit. 

“Dream On” is the song that the girls sing while in the showers. Why yes, it does look like they’re in the nude due to the poor quality of the video.  The song is ok, it gives total night driving home from the mall in the late 80s early 90s vibes.  Although one girl says the line, “Six foot three and he's in his forties!”. WHAT. 

Carrie breaks those vibes at around 3:44 by screaming that she’s bleeding. When Miss Gardener slaps Carrie, a cymbal plays. I love it.

I like to imagine that when the girls threw the tampons and pads at Carrie, some flew into the audience. 

“Carrie” is shrill at first, and then it turns into a bit of snoozefest. Linzi sings the name “Carrie” about 458 times. 

Betty Buckley who previously had played the original Grizabella in Cats. and who played the gym teacher in the original movie plays Carrie’s mom. Her song, “Open Your Heart” is pretty good. It’s a nice little break before mom goes bottoms up on Carrie for getting her period (”And Eve Was Weak” [Stratford version with Barbara Cook]):

Carrie: I was in the shower and...

Mom: You’re forbidden from showering with the other girls...

Carrie: I started to bleed!

While Carrie spends the rest of the night in a cellar, the popular girls are at the drive-in. Now, this musical cost over $7 million dollars 1, but yet this was the best set they could think of for a drive-in movie theater: 

It looks like something out of a high school play -- which I guess makes a little sense since they are high schoolers? I’m grabbing at straws here. It cost so much money to put Carrie on, what’s a few more dollars to have two real hollowed out cars on stage, one with Chris (in the red) & Billy (in black) in it, and the other with Sue (pink leggings) and Tommy (purple windbreaker)? 

“Don’t Waste the Moon” is the song sung at the drive-in, with Sue having regrets about throwing tampons at Carrie in the beginning of the song. The song is very 1980s, and it kind of doesn’t fit in the musical. Gene Anthony Ray’s (Billy) talent is wasted here. 

It’s time for some “Evening Prayers” for Carrie where she discusses with God her new telekinesis powers. Meanwhile Carrie’s mom is being a worrywort. During the Stratford production, Carrie’s mom is in a rocking chair over there looking like Whistler’s Mother. 

“You’re going to tell Carrie that you’re sorry!” belts out Miss Gardner. In the musical, Chris seems more obsessed with torturing Carrie than in the movie or book if that’s even possible. Sue is like, “What did she even do to you?”. Even Billy asked earlier, “Who the hell is Carrie White?”. 

Oooof. Seeing the gym teacher try to cheer Carrie up by singing a song about the prom (”Unsuspecting Hearts”) and how she could go too is patronizing. Even if its sung by Darlene Love. 

“Do Me a Favor” might be the most infamous song from the musical. It’s the song I see referred to the most when I read bad reviews. For some reason Chris is wearing a metallic red bodysuit and Sue is wearing a light pink bodysuit. Are they supposed to be that cliche devil and the angel on the shoulder thing? 

Chris looks like Evil Homer! 

I’m going be the unpopular opinion here and say that I love the song! The erratic dancing also fits with the song. 

Carrie tells her mom before “I Remember How Those Boys Would Dance” that Tommy is sweet and polite, but the audience doesn’t know that. Tommy is barely a character in this production. In the end, Carrie uses her powers to shut her mama up.

From what I gather in “Out for Blood” (audio) where Chris and Billy go looking for a pig to kill, the chorus dancers are the pigs? The video quality is so poor. Chris had another crazy ass red outfit on, some sort of shiny red skirt and a crop top. The costumes in this are just horrible. It was like the wardrobe budget was $50. 

This song is so.so.bad. It reminds me of whenever Rocko from Rocko’s Modern Life would see a movie trailer or a parody of something on TV for some reason?! Or the “gotta get that Reptar song” from Rugrats when the kids saw Reptar on ice. Especially when the chorus tells Billy to kill the pig: 

CHORUS Cha! Kill the pig, pig, pig! CHRIS Go! CHORUS Kill 'im, kill 'im, kill, kill! We'll make him bleed! CHRIS Go! CHORUS Get the blood, blood, blood Oooh, blood! CHRIS Oh, baby show... CHORUS Kill the pig, make 'im bleed Let's get the blood, that's all we need!

Sue’s song “It Hurts to be Strong” is a bit of a throw-away. It gets a vending machine maxi pad award. Moving on. It’s filler  

In “I’m Not Alone”, Carrie sings while using her powers to move things around in her room. What things? I don’t know the video quality was so bad. That’s another thing! The sets are nonexistent! I wouldn’t know we were in Carrie’s room unless the Playbill told me. It’s another forgettable song. Three in a row!

Betty Buckley saves the day in, “When There’s No One”, a sad song about facing life without Carrie being her subordinate. 

I don’t understand the prom dresses in “Wotta Night”, they’re all garish giant white numbers that make the actresses look about 20 pounds heaver.  The guys look like that Rio doll from Jem. The costume designer couldn’t just go to Alexanders or A&S and buy prom dresses? You know, why am I even asking at this point. We all saw what Chris has been wearing this whole time. There is a disco ball thrown aside in the corner instead of hanging up. More on that later.

The song sounds way too much like that song “Rock on” by David Essex.  Automatic Vending Machine Maxi Pad. 

Here’s a cute rehearsal clip I found of “Heaven”, the song sung while the Prom Queen and King ballots are being counted. Unfortunately, the audio is bad. Chris is there to remind us that she’s still out for blood.

Finally, finally it’s time for Carrie the prom queen to get drenched with blood -- but the thing is, due to microphone technology back then, Carrie really couldn’t have blood dumped on her. Chris and Billy just run up to her and half ass pour the bucket at her. Could the set designer not suspend the bucket from above the stage? Is that also why the disco ball is thrown in the corner? I don’t even think she has stage blood on her during “The Destruction”, (which is the best song from the musical).  I think a red spotlight over Carrie signifies the blood.

I think Linzi is really only truly covered in blood for press shots. 

Anyway, the Destruction, I love it when she screeches “DOESN’T ANYBODY EVER GET IT RIGHT??! DOESN’T ANYBODY THINK THAT I HEAR?!” It’s the best. I could listen to it all day and I almost did the other day. 

Due the poor video quality, I can’t really tell how the prom-goers are dying. They’re kinda just twitching there in the laser light or slamming themselves against the clear barrier that descended from the stage to signify Carrie closing the doors to the gym. 

After Carie kills everybody, this giant white staircase descends and covers up the gym. I read somewhere, I forgot where, that its supposed to be the school stairs? We’re led to believe that Carrie’s crazy mom ran to the school. The first time I saw it, I thought that it was Carrie and her mom getting ready to go to heaven. I thought maybe someone over at the set department took the classic song too literally. 

It appears that while the stairs are descending, Carrie smears stage blood on her. 

The reprise of “Carrie’ is so much better than the original. Carrie stops her mom’s heart cold mid song. Then she slins down the stairs and Sue catches her. In an interview on playbill.com, Betty Buckley says that on opening night (I don’t know if she meant the first preview, or the official opening night), there were boos from the audience at the end, but cheers for Linzi and herself. I believe it. Betty and Linzi were amazing. Darlene Love was amazing. The rough scenes are the scenes with the school kids. They’re awful, in the words of my boy Jay Sherman, “they’re awful I tell you. aw.ful.” 

(relevant prom .gif) 

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1. Rothstein, Mervyn. “After Seven Years And $7 Million, ‘Carrie’ Is a Kinetic Memory (Published 1988).” The New York Times, May 17, 1988, sec. Theater. https://www.nytimes.com/1988/05/17/theater/after-seven-years-and-7-million-carrie-is-a-kinetic-memory.html.

New York City Broadway reviews on the news in NYC for Carrie.  That first reviewer, Stuart Klein, I love him. I’ve watched several of his reviews on flops on YouTube. Joel Sigel who was the Good Morning America film reviewer is here too. 

Archive of Betty Buckley interview. 

#carrie #carrie the musical #1988 #betty buckley #linzi hateley #charlotte d'amboise #broadway #musicals #broadway flops #flops #the 1980s

[boleyn-falcon]

‘wouldn’t it be nice?’

okay so ever since i made my Joan and Jane fic (here) I've decided i wanted to make a oneshot for all the ladies and their queens! this one is a lot more happy because my heart can’t handle a sad Maggie rn like i’ll die.

this is also me just being a wannabe soccer jock because i finished my first season this school year :> of yea and if i accidentally refer to it as soccer and not football i’m sorry i’m a dumbass american

synopsis - Anne thinks today would be the perfect day to kidnap her closest friend and sports-related hijinks ensue! with maybe a slight side of bruises and concussions..

Words - 2593

Trigger warnings - none that i know of but tell me if you think i should add one!

     Maggie loved the early summer. It was the perfect time of the year, not too hot nor cold. She could leave her window open to let in natural sunlight during the day, she’s always hated artificial lights, they give her headaches. It was the best time to just hone her skills and relax, she could let all of her stress just melt away. The brunette started learning a new song she heard so she could play it to the ladies and queens. “Wouldn't it be nice”, by some old american group called ‘The Beach Boys’, it was a nice feel good song the guitarist just felt amazing hearing. The old song’s lyrics remind her how good her second chance at life really was, “And wouldn't it be nice to live together,In the kind of world where we belong?”, it was perfect.

  Her hands gracefully floated over the strings, eyes locked on the chords displayed on her computer screen. It felt like the world had stopped moving for a moment, like everything was calm. Well that feeling didn’t last that long. Maggie’s hands suddenly gripped the neck of the instamet as a large crash came from down stairs, ‘oh no what is it this time’. The musician laid her guitar down on her bed right as a slew of very creative and colorful curses came from what she could only presume was Bessie. With a quick trot down the stairs she was soon to find a very peeved bassist, a started pianist, a confused drummer. She made haste to the living room where they were standing to also find one very apologetic tudor queen and one rambunctious gremlin on the floor, oh and a slightly broken window.

    “Gosh Bess I’m so sorry about her, we just got back from pret and i let her buy a large chocolate frappe, i'll pay for the new window..”, the blue clad queen said with a sorry smile. Maria spoke up with a curious tone, “Wait why are you guys here anyway? Atleast give a reason Miss Kermit the Hulk over here came crashing through our window?”, the green eyed woman finally stood up from her place on the floor and shuffled shyly. “Well Cathy wanted to come over and get some piano lessons from Joan and I tagged along to hopefully get some time with my favorite ferret!”, Maggie gave an amused chuckle and stepped forward. “Well okay you sugared up raccoon, what did you wanna do?”, Anne made her way to the couch and plopped down, “Well before we do anything, you need to go change into some shorts and a tank top oh and put your hair up. Cathy then grabbed one of the two drawstring bags she had been holding and handed it to Anne, who was already in some black running shorts and a neon green muscle tank. “Well me and Joan are gonna go hit the keys, you two have fun with whatever trouble Anne will get you both in”, and with that the two shorter girls made their way across the room and began to talk quietly.

  The band member made her way back up to her room and began to pick out an outfit. ‘ Huh, I wonder why Anne is having me wear sports gear..the only kind of sport she watches is hockey and that's because she thinks it's funny to see them beat the shit out of each other’. She opened her closet and picked out some white athletic shorts(with pockets because all pants need them in her opinion), and a pastel cyan dri fit shirt with a black double note on the front. Lastly, she ties her hair back in her normal high ponytail she wears for shows.

      Finally they were ready and made their way out of the house and onto the London streets. Anne still had her green bag, without giving a single hint to what could be inside. They made their way down into the nearest tube station on the Piccadilly Line. Maggie could now slightly narrow down the places they could be heading,but just a little. They stayed on the hot tube for a good few minutes before the hyper woman pulled her off and gave her a little time to look at where they had gotten off, Hyde Park Corner. This had just gotten even more puzzling as they made their way up to the surface. They were so close to leaving the station, till they had to scan their oyster cards. Anne had gotten through the gate easily with a quick swipe of her card. Maggie walked forward and scanned her card, but as she was walking through she felt a pressure on her waist. The Confused woman looked down to find out.. The gate had closed on her and she was stuck in between the two sides of the machine. “...Well shit… that's a problem”, the two rudor women laughed and Anne waved down a worker to let her friend out of her plastic-mechanical prison.

       They finally made it out of the station, at least they already had a funny story to tell the others. They ambled their way down the stone sidewalk, smiling and laughing like school kids. “So I tell Joey about the whole pasta-wall test and she actually does it! Wait it gets better, she grabs a handful of angel hair spaghetti and chucks it at the kitchen wall! In front of Maria and Bessie! Let’s just say she wasn't allowed to be near any kind of noodle for a while”, Anne bursts out in laughter even stronger than back at the station, wiping tears from her eyes.  Suddenly the green queen stopped and grabbed her friend’s hand and pulled her over to the other side of the road. “Tadah! We are gonna hang out here and try something new!”,the enthusiastic woman points to the stone arch like structure above them. “Hyde Park? What could we possibly learn here?”, Anne gives no answer as she continues to drag the poor musician into the park and off to a flat clearing.

    The Boleyn girl stops right in the middle of the small grassy area and finally pulls out what has been hiding in her bag, a basic football and a small bluetooth speaker. “I thought it would be fun if we learned how to play Football! It seems easy enough and it would be fun bonding for us!”, she put the speaker down next to her bag and put the ball at her feet. Maggie was beyond confused, neither woman had ever tried sports, she knows Cleves runs and does boxing with Kathrine but that's about it. The guitarist gave a nod to the woman in front of her, she was about three meters away. Anne pulls her foot back like a bow and slams the front of her foot into the ball and sends it flying towards the other burnette. The ball hits Maggie’s right shin, she stumbles back and trips over the object at her feet and falls on her backside. “Ow shit!”, both women say loudly, Anne holding her foot and Maggie on the ground clutching her shin.

     “Okay so bad idea, maybe we should..I dunno, learn how to play the damn game before we start kicking shit?”, the tudor queen gave a shy nod as she walked over and helped the injured girl to her feet. Maggie pulls out her phone from the pocket of her shorts and goes to her trusty friend, Google. “Okay Mags we should start with how to kick the damned thing without breaking all of your toes”, the guitarist gave a small chuckle and searched what Anne had suggested. After about thirty seconds of looking she finds a short Youtube video titled, ‘How to properly kick a soccer ball’, huh made by an American i guess. She clicked the video and turned her phone so both inept reincarnates could watch. The woman in the video showed her foot parallel to the ball, lightly kicking it with the inner side of her foot, unlike Anne who ‘toed’ the ball from what the woman said. The demonstrator showed how to open your hips wide to pass forward and how to angle your foot to make sure the ball goes in the right direction. After the tutorial ended Maggie turned her phone off and returned it to her pocket. “Okay Anne go back to your spot with the demon-sphere so we can try this again”.

      So it was take two and they widened their stances slightly like the player in the video did, “Okay Mags remember to stop it with the side like she said so i don't break your foot! God the other Ladies would kill me..”. Anne got ready and tilted her foot outwards slightly and pulled back, she hit the ball correctly, well sort of. She used the right part  of her foot but hit the very bottom of the ball and it flew upwards and towards the poor ferret-like woman in front of her, hitting her square in the face. Maggie stepped back and made a low grunt noise and held her face. “Christ Annie what did you do wrong this time? You did exactly what she said and it was still fucked up!”,Anne gave a confused look with a tilt of her head, “I dunno ‘M, maybe it was wind?”.  Both gave a frustrated sigh as they sat down on a nearby bench and started to think. Before they could conjure up a coherent thought, Maggie spotted 3 teenage looking girls with matching gold and red sports uniforms with low and behold, a football. The younger girl shot up from the bench and gave her queen a confident smirk, “Anne i think i have a good but also maybe terrible idea”, she sped up to the girls and stopped them in their tracks.

           “Hey sorry to bother you girls but erm… you play Football right..?”, the three girls looked at each other confusingly, “Um”, the tall brunette girl starts, “Yea we are on our school’s team..why?”. Anne catches up to Maggie right as the conversation continues, “Well I’m Maggie and my friend Anne and I want to learn how to play but we are kinda…”, Maggie trails off for Anne to finish, “Bad at it, like really bad”. The tanner girl with gloves on stepped forward with an amused look, “Well okay then, we were just about to go for a short practice so we could totally help you out!”, she put her gloved hand out for Maggie to shake, “I’m Samina, I’m the team’s goalie and these are two out of three of my defenders, Piper”, she points to the girl from brefor who gave a small wave, “And brooke”, a shorter brunette looked up and gave a small nod. “So I see you're already kinda set up here so let's get to it!”, the goalie led her girls over and gave the older pair an encouraging smile, “Show us whatcha got ladies!”.        All five of the girls got in a wide spread circle with Anne’s ball at her feet. “Okay so first things first, do you know how to kick it without hurting yourself or sending it to the moon?”, Anne looked over and answered for Maggie, “Kinda, we can do it without harming our precious feet buuut it went flying and ‘bout gave Mags a broken sniffer..”. The shortest girl gave a small nod and gazed over at the pair, “Well then you hit the bottom of the ball, next time hit the middle or top, but i say middle because you might trip if you hit the top”, she said in a monotone voice. Anne decides to give it a go and turns to face Maggie, giving her a look that says, ‘be prepared because this might end horribly’. Giving her queen a quick nod she gets ready to receive the weapon of death, aka the ball. Anne pulls back and hits the ball just like she was told and it zooms towards Maggie on the ground and the brown eyed woman manages to catch it with somewhat ease. “Nice job Bo!”, she says as she rushes to give her green clad friend a high-five who gladly returns. “Now”, Piper starts, “time to learn how to dribble with the ball!”. Both girls groan in response.

       After about an hour and a half of learning the simple methods of the sport the girls had to leave so it just left Maggie and Anne to figure it all out from there. Maggie spots an opportunity to turn up the fun and jogs over to Anne’s speaker and connects her phone. An upbeat guitar melody begins to play and just a few seconds later words start to emit from the speaker, “Wouldn't it be nice if we were older? Then we wouldn't have to wait so long?”. The musician gives a bright smile as the cheerful song plays, she now could really understand how grateful she really was for this new life. She sauntered over to the smiling Boleyn girl and they began to pass the ball around and laugh. They practiced thier passess and dribbleing, even tripping a good few times which made their smiles even brighter as they became covered in dirt,grass, and small bruises.

     “Annie! Heads up!”, the ball flew past the queen’s head and into a tree behind her, getting stuck up in some branches. “Shit sorry, i'll go up and get it dont worry!”, Anne gave a worried glance, “Are you sure Maggie? We could just throw stuff at it to knock it down..”, Maggie had already started scaling the tree. It was anything but graceful, she looked like a blind cat with a missing tail,left leg, and whiskers, she couldn't balance at all. After making her way up about 5 or so branches she finally got to their beloved horri-ball. She grabbed it with her left hand, leaving her right, non-dominant hand, to be the one holding onto the flimsy branch above her, it was a recipe for disaster. “Hey Anne, I got the bAL-”, where her last words before the branch gave way and she went tumbling to the ground. Luckily or not so luckily, her dearest queen was there to break her fall. “I told you so”, is all Anne could croak out from under Maggie before she pushed her off. After that fiasco they moved a tad bit farther from the trees so they didn’t have to go home in full body casts.

After a few more hours it was starting to get dark and they thought it best for them to head back to their respective homes. They parted ways and started the trek back to their humble abodes. “See you later Mag! I'll text you later!”, and with that Anne was gone, Maggie has always wondered how she just vanishes right when you take her eyes off her. After a very cautious tube station trip and ride, she was finally home. The guitarist, happy to be home and rest, opens the door, ready to have some quiet time. Her dreams are slightly crushed as she sees a small brown blur scurry across the hall with a very distressed Maria rushing after it. The drummer stops in her tracks to make eye contact with her bandmate, “Bessie,Cathy, and Joey went out for dinner, don't say a word about this Margret”, today just got even more exhausting.

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

Okay well that was an absolute acid trip-

i hope yall enjoy some cute bonding shit becuase the last one was so edgy n shit, and before any of you ask, yes the three girls on my team who are all really amazing players and friends and i love them so so much-

the next one will probably be with Maria and Lina and them dealing with Maria’s.... new little predicament haha

#six #six the musical #six musical #six fanfiction #six fanfic #six the musical fanfic #maggie lee #maggie on the guitar #anne boleyn #bessie blount #bessie on the bass #joan meutas #joan on the keys #maria de salinas #maria on the drums #cathy parr #catherine parr #six ladies in waiting #ladies in waiting #six LiW #LiW #ladies in waiting fanfic