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pear-pies · 3 years

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Placebo in Rock & Folk magazine - April 2003

Words by Jerome Soligny, photos by Carole Epinette

Wonky translation under the cut:

These three did it all. Shot with the QOTSAs and posed with Indo. They survived "Velvet Goldmine" and the Top Bab. They come back after the ordeal of the fourth album. Danger interview: “Jerome, what if you came out?” They ask our charming reporter.

"We do not regret anything"

Everything begins again with "Bulletproof Cupid", a punky instrument that pulls everything off. Then "English Summer Rein", mechanico-depressive spinning punctuated by twisted keyboards, and "Sleeping With Ghosts", the lament which advances while blistering during cooking, confirm the tone. Against all expectations, because you never know how will age the groups that the previous album installed at the Top, Placebo took over. And stuffed it in an iron glove. Further on, "The Bitter End" tumbles through yapping guitars which would stick to the hatches the thickest of the sailors. Be careful, Placebo is on the way out of being one. At the end of the record, Brian Molko, Stefan Olsdal and Steve Hewitt do not even run out of steam. The cows. They drop a "Centerfolds" which frolic like a cynical top under a shower of saving doubts. What augur still other perspectives.

The fourth album: a horror for all who have faced it. Often a stupid trap. Returning from the Gothic directly inherited from the glam of pageantry and from these hasty and harmful certainties which congest the face and the veins, Placebo publishes its first real great disc. Oh, not the marvel of wonders, not the album from the third millennium, but something very strong, compact, tenacious in listening, which proves that the future is indeed there, in front, where the light is most blinding. Calfeucée in their Parisian hotel (the Costes, of course), our three lads do not make the blow of the revelation, of the luminous questioning. Simply, they now think with their heads, a good plan most often Likewise, reality no longer frightens them, and it is probably she who is hiding behind this "Sleeping With Ghosts" which relates the sorrows only for the better. melt into hopes At the moment when rock brings us back to life and when we just want to ask them everything, the Placebo have decided to say everything. Not even in a hurry, they settle down on the couch, ready to talk like never before. Despite new batteries embedded in the carcass, the Panasonic barely a Brian Molko: Hey Jerome, you came to talk to us this time when you had not come to the previous album ...

Rock & Folk: Uh yes but I was there for the first two, that says a lot, right?

Brian Molko: Certainly, I also believe that over time, we finally appreciate the true nature of the problem: we were mainly criticized for the sound of the previous album, which I can understand but, paradoxically, it is the one that brought us to the Top.

R&F: Legitimately, we have the right to expect a lot from the people we love: while "Black Market Music" sounded a bit like a sequel, this new record is all about a renaissance.

Brian Molko: Actually, we were finally able to live a little. After having existed in a small bubble for a very long time, we forced ourselves to take an eight-month break. The album-tour rhythm put us on the sidelines: we no longer had normal contact with anything. We were losing ourselves. We have fully lived the old cliché which claims that we spend the first years of our life writing a first record and six months on the second. It turned out to be very true. We had to get back to the situation of the first album, see friends, go shopping, look at the buildings in our city.

R&F: So the freshness would come from there ...

Brian Molko: Yes, and it was essential spiritually, emotionally and physically.

Steve Hewitt: We had to be in tune with reality again.

Brian Molko: In fact, we find ourselves in a bit of the same state of mind as when we released "Without You I'm Nothing", although "Sleeping With Ghosts" is a lot less gloomy. The heroin has since stopped leaking. In fact, I feel like I've pulled myself out of what I consider my second teenage years, between twenty and thirty. I conquered the self-destruction, exorcised some demons, understood what had happened to me. I held on to what I had learned. As a human being, I am now able to continue living, to try to answer the big questions posed by existence.

R&F: Maybe that's why the melodies are needed this time. It took me four records to get a favorite Placebo track.

The whole group in chorus: Which one?

R&F: "Protect Me From What I Want", of course ...

Brian Molko: The most paradoxical is that this song dates from the end of the "Black Market Music" sessions. I was not married at the time, but I was trying to get out of a particularly vicious divorce.just started. Then we wait for the lyrics, which don't arrive, it's rather intriguing. We especially wanted to avoid the big Rican producer side, we needed someone who shakes us up a bit. Jim could do that because he comes from dance and his pedigree is impressive. We have all his records at home, Bjôrk, Massive Attack, Sneaker Pimps and especially DJ Shadow. It is believed that guitar rock can only evolve by incorporating new genres, this is the only way to remain a modern rock band. At home, we practically only listen to hip hop.

R&F: Still, he didn't betray you.

Brian Molko: No because he actually brought out our rock side, which I'm particularly proud of. In fact, because we always wanted to control everything, it was not easy to be forced, to do certain things backwards, to walk on the head. But in truth, that's what we wanted: yes, there was some tension in the studio but we all took advantage of it. The challenge is necessary and it is also valid for the public. We opened up and rediscovered ourselves.

Stefan Olsdal (emerging from his chair): We found ourselves in front of the mirror, at the foot of the wall: someone had to kick our ass.

Brian Molko: Jim was like, "Why are you doing this?" We would answer him: "Because we always do it like that!" He would say: "All the more reason not to do it."

Stefan Olsdal: On the first day, he messed up all the demos, changed the tones, the tempos ...

R&F: Like Brian Eno ...

Steve Hewitt: Yeah, but with a lot more compassion. Eno is a bit (silence) ... We don't really like being told our actions, but at the same time, we are still young, still absorbing. Jim knew how to preserve us while making a modern sound.

R&F: Modern and rock'n'roll at the same time, a characteristic which does not necessarily apply to all the young groups in The which recycle the past gently but are convinced to have found the virus of the AIDS.

Steve Hewitt: Placebo doesn't belong to any current, has nothing to do with fashion.

R&F: You always pose as outsiders.

Brian Molko: It's the only way to survive.

Steve Hewitt: These bands, like The Strokes, play the nostalgia card.

Stefan Olsdal: And what happens next? I would not like to be in their place.

Brian Molko: If you want good New York pop, you better listen to Blondie.

R&F: In 2003, 11 seems that you have abandoned all the androgynous paraphernalia, sexual ambiguity, glam references ...

Brian Molko: I think today everyone knows what there is to know. Our sexual inclinations haven't changed, and we still wear makeup. It is just more expensive and better applied. We are ourselves, in our music and in private. I went through my travelo period (in French in the interview - Editor's note), and I understood that being androgynous was not wearing skirts. It is a way of being on the spiritual plane. It is not an image but a state of mind.

Steve Hewitt: It's like being punk, it's an attitude.

Brian Molko: At the same time, I don't regret any of my eccentricities. I grew up in the spotlight and it all kind of makes me smile.

Stefan Olsdal: People still talk to us about certain outfits or positions, as if it still shocks them.

R&F: Yes, and particularly in France, a particularly homophobic country which bumps heartily on gay artists.

Brian Molko: And you, coincidentally, you still hang out with.

Stefan Olsdal: Jérôme, it's coming out time (laughs) ...

Brian Molko: All that has to change, that all of France becomes gay (laughs)!

R&F: "Protect Me From What I Want" precisely, here is a title heavy with meaning. What was the idea behind this song?

Brian Molko: For me, it's a study of the pathological need people have to copulate, the search for meaning in copulation. As if bachelors or monogamists were aliens. As if we were only one when we were two. The song is about the fact that one relationship has destroyed me but I can't help but look for another ... why do I keep coming back to this?

R&F: Wow, we're bathing in philosophy here!

Brian Molko: Yes and it's the same elsewhere in the record: in "Plasticine", I insist on the fact that you have to be yourself above all while asking myself all these questions. Why do we have to do a lot of forbidden things, bad or harmful?

R&F: It's therapy in public.

Brian Molko: At least I find some balance in it. These are not songs about compassion or self-pity. They came out like this because it was vital for me. I am in this privileged situation where I can express myself and the world hears me. Otherwise, I would be really frustrated and I would have suffered a lot more in the last fifteen years.

R&F: Music saved your life.

Brian Molko: Sure.

Steve Hewitt: Everyone: I think we can say that. Without Placebo, we would not be not even alive.

Brian Molko: Spitting it all out is not necessarily the right solution. There are things with which to live. In fact, I've always been afraid to go see a psychiatrist ...

R&F: Yet, listening to you speak earlier, you could have the feeling that Jim Abiss acted a bit like a shrink with you.

Brian Molko: That's right. You could say that.

R&F: At a time when Bush and Blair want to play World War III, what attitude do you adopt? What do you think of these Englishmen who left for Iraq to constitute a human shield?

Brian Molko: Let's say we stand together. We participated in the March for Peace on February 14th with Damon Albarn and 3D from Massive Attack. We were also surprised that so few groups mobilized, which increased our desire to participate tenfold.

R&F: Do you consider that it is the role of the artist to give voice in such circumstances?

Steve Hewitt: Yes, in the sense that we can help with general motivation.

Brian Molko: I'm very interested in seeing if Blair is going to let Bush bomb Iraq with the British present on the soil of the country. If he ever allows that, the consequences will be dire.

R&F: It will only be one more religious war, in the name of oil and money ...

Brian Molko: It seems absurd that we can still fight for that. And curiously, nobody speaks more, or almost, of Bin Laden. Wouldn't it all come from him, by chance, as a huge consequence of September 11? On the other hand, we have such a feeling that Bush wants to finish the job that daddy started. Its image is so bad that it needs at least one war to restore its image.

Steve Hewitt: And reinvigorate its dying economy.

R&F: The method is lamentable, deceitful. Like those employed by the recording industry which claims to be doing well by selling pop in damaged boxes to ignoramuses.

Brian Molko: The ability of this job to ingest people, bribe them and then spit them out is impressive. This is what happened here at Canal +.R&F: Business is the beast.

Brian Molko: All these pre-made artists are young and naff ...

Steve Hewitt: They'll all end up in a labor camp for ex-pop stars.

R&F: Warhol was talking about fifteen minute glory, we're brutally passed to fifteen seconds.

Brian Molko: We should have called them Karaoke idols from the start.

Steve Hewitt: And it only works because of the TV ...

R&F: Who washes the poor, helpless brains.

Steve Hewitt: You can tell how much people want to think less

R&F: And spend less. For many, music should be free: one in five thirteen-year-olds doesn't know that a disc doesn't have to be a computer-burnt puck. Some are flabbergasted when they see a cover for the first time.

Stefan Olsdal: And those who don't buy records put pressure on those who have them to pass them on at all costs, just long enough to copy them.

R&F: Exactly.

Brian Molko: That's why we blame Robbie Williams so much. Scooping 80 million pounds off EMI and then declaring that pirating music is a fantastic thing just makes him want to stick a chunk in his face.

R&F .: And then piracy is not a matter of environment. It's not a suburban thing. There are rich kids who find it normal to burn 80 CDs during their weekend and sometimes sell them to their friends ...

Brian Molko: What do these people believe? That we are there, the face in the stream with a syringe stuck in the arm singing "La Vie En Rose"? And who will pay for our children's school? Not them, anyway. Our mentality is quite different: we always want to buy records from people we love, from our friends. Personally, we are partly out of the woods, but it will be particularly difficult for new groups to make a living from music in five or ten years.

R&F: Come on, we're not going to leave each other on this, a little humor won't hurt anyone. If you were to be banned from any of these three things, which would you choose: making music, making money or making love?

Steve Hewitt (almost tit for tat): I would stop making money, without hesitation. It's because I love music and sex too much. And then, well, you have to choose.

Brian Molko (completely overwhelmed): Oh damn, that's not true. What a dilemma!

R&F: No Brian, that doesn't count, make an effort (laughs).

Brian Molko: Ah, I don't know. And then if. I would stop making money and get on well with someone super rich.

R&F: Or you would be pimp ...

Brian Molko: Yes, that's it. Good plan.

Stefan Olsdal: Stop making love does not mean to stop loving ...

Brian Molko (preparing his shot): And we can always masturbate (general laughter).

Stefan Olsdal: OK then, I would stop making love.

R&F: Okay, it will be written in black and white for all eternity.

Brian Molko: Will we live long enough to regret it? This is the real question.

*COLLECTED BY JEROME SOLIGNY

[Inset, Trash Palace]

Already present on the first album by Trash Palace which he had adorned with his presence one unhealthy recovery of "I Love You, Me No More "in duet with Asia Argento, Brian Molko is coming to re-stack. This time he cosigns directly "The Metric System " with Dimitri Trash Palace Tikovoi, an electro saw boosted to bleeps fundamentals available in two remix and its clip on an enhanced single recently published at Discograph. The result is particularly (d) amazing and sounds good logical, like of Placebo cyber.Placebo in Rock & Folk magazine - April 2003

#the cows.#placebo #brian molko #stefan olsdal #steve hewitt #the metric system is so chaotic i love it

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raleighcarrera · 3 years

Text

falling

platinum | raleigh carrera x mc (cadence dorian)

a little while ago i posted about the idea of a soulmate au where the first words raleigh & cadence say to each other are tattooed on them their whole lives, and this... is that. (for @platinumweekend ❤️)

tags: @choicesarehard ; @empressazura; @emomoustache ; @natesewell ; @zigtheeortega ; @pixeljazzy ; @brycemaloliver ; @grigori-girl ; @dulceghernandez ; @bitchloveskcbaseball ; @withbeautyandrage

~10.5k words | T

the words appear in looping script on his thirteenth birthday, right on time. they curve along the inside of his bicep, innocently punctuated. what’s your name?

“you got lucky,” one of his older cousins tells him, later, when everyone in his family comes by for cake and to ooh and aah over his new tattoo, “you’ll be able to hide that with a shirt or a jacket easily.”

but raleigh sleeps shirtless every night for the next two years, even when it’s cold, so that the words are the last thing he sees with his head pillowed on his arm before he falls asleep, dreaming of the nameless, faceless person who will one day say them, wondering what their voice might sound like when they do.

ii.

she has a more difficult go of it.

being a thirteen year old girl would be miserable enough without the added pressure of the words that practically feel broadcast across her forehead, most of the time. everyone at school teases her constantly and ruthlessly: say something funny, cadence. go on. tell us a joke!

so it’s difficult not to resent the two words scrawled lazily across her collarbone and the person attached to them, especially in the mornings before school when she’s angrily rearranging her neckline and jewelry in the mirror while the bus idles outside.

very funny. she isn’t, really. she’s plenty of things -- determined and passionate and sensitive, definitely, but... no one’s ever found her particularly funny, before.

and no one seems to understand just how much the expectation of having to be funny, one day, is weighing on her, not even her parents, when she finally works up the courage to squeak out, “but how am i supposed to know what i should say?”

her mom laughs indulgently, like she’s already said something funny. her stomach sinks further.

“oh, sweetheart,” she tells her, “don’t worry, it won’t matter. you just will.”

iii.

people ask him about it. a lot.

it gets difficult to keep it a secret as things change around him, but raleigh’s careful to avoid slip-ups and paparazzi photos and he doesn’t say a word about it in interviews, even when he’s asked directly. he’s never seen without short sleeves on, at the very least, and he doesn’t even tell blair and cameron about it.

he sort of wishes he had, though, because as his life turns upside down and he adapts to a new country with a new set of rules and an industry that makes his head spin most of the time it starts to feel more and more confusing, those three words -- what’s your name?

everywhere he goes, thousands of girls blocking the street scream it at him. so how is it possible that whoever’s waiting to meet him doesn’t already know it?

and what does that mean for how the rest of his life is going to turn out?

what if all of this -- the fame and the money and the notoriety -- is fleeting, and he’s only a few short years from being completely washed up and irrelevant? what if the day he’s meant to meet his person is so far away that he’ll be completely out of the spotlight, by then, with sunset skatepark playing reunion tours and him having spent most of his life alone?

it’s a lot of pressure, for someone who’s already working their way through such a serious adjustment, and most of the time it’s dizzying, thinking about the fact that there’s someone out there who’s supposed to be perfect for him, when everyone he meets seems determined to forget every word they know other than yes, so they can suck up to him as much as possible.

his teenage years fly by in a whirlwind of mistakes and regrets. there’s things he would’ve never dreamed would come his way, like world tours and more money than he can count and so many girls who know everything about him before they even sit down to dinner, but there’s more than that, too.

there’s all the ways the industry weakens his trust until it’s gone, all the people who try to use him for what he can do for them, all the times he stumbles until he finally learns to distance himself by cultivating a persona, by leaning into all the expectations of raleigh carrera and creating something so outlandish it doesn’t hurt as much when disaster follows him around because it’s supposed to.

he watches everything that surrounds him turn fake and plastic and puts his energy only into his music, coasting on the rest. the days are less exciting than when he first joined the band at fifteen; he’s a solo artist, now, and most of the time, he’s just trying to get through.

but chaos continues to follow him and eventually his notoriety is inescapable. his first solo album is self-titled and he somehow manages to get a trademark on the word raleigh, as if the name is now more his than anything that ever belonged to the state of north carolina, and part of him sort of expects the words stamped on his arm to change, once he hits one-hundred million followers on his social channels.

they never do, though, and when he’s alone, and the veneer he’s built up for everyone else fades away, he can’t help but to be fascinated by this person who just wants an answer to the question no one else would ever dare ask him.

iv.

college isn’t exactly the fresh start she was hoping it’d be.

she was a loser in high school and things don’t get much better for her even now that she’s with ‘her people’ at a performing arts university she can barely afford, even with two part-time jobs.

shane is across the country at a proper state school with parties and a social life and lots of friends who aren’t her, and she’s failing her improv class, proving that she isn’t actually very funny at all.

boys continue to not notice her and patrons in bars continue to turn away from her one-woman performance, her old acoustic guitar the only constant in a life that feels utterly, unbelievably pointless, most of the time.

it’s like she’s drifting through the days, putting her time in at college in the hopes that it’ll fortify her for what’s next -- her big break, the discovery that’ll get her out of that shitty small town she’s been trying to escape her entire life. she writes hundreds of songs about how lost she feels and hates every single one, dreaming of a time when things might be different and she doesn’t have to second-guess every single one of her decisions.

she doesn’t have much of a love life and tries not to think about that, either.

the person on the other side of those two words stuck on her collarbone is probably looking for someone self-confident, who knows who they are and is comfortable with that. they’re probably expecting to meet someone who has their life together, who, at the very least, has a plan.

they’re probably not expecting a talentless nobody screwup like her, someone who tries as hard as she can yet never seems to make anything work.

things don’t turn around after graduation, either. sure, she manages to find an apartment in a building that’s nice enough and uses the last of her savings on the deposit and trying to furnish it, but it’s only a few weeks of trying and failing to secure a regular paying gig performing before she’s back at smoothie star again, begging for her old job back.

and there’s nothing that makes her feel more like a failure than working the same shifts she had in high school.

as she hums along to the radio on a random tuesday afternoon when the store is dead and there’s nothing to blend, she wonders what mr.-or-mrs. very funny would think if they walked in and saw her here -- twenty-three years old and flat broke, with a dead-end job and a one-bedroom apartment all she has to show for her very expensive and very useless bachelor’s degree.

that, and a notebook full of half-finished songs about relationships she could only ever dream about and an escape from the miserable small town she lives in that feels farther away with every day that passes.

she can’t imagine they’d be very impressed.

raleigh’s life gets monotonous very quickly. the music takes a backseat to the scandals and for a while there’s a predictable pattern of cause trouble, clean up image, rinse and repeat.

there are girls in between the cycles to help him pass the time. some he likes well enough and some he despises, but for the most part his management gives their recommendations and he agrees and makes awkward conversation for an hour or two over brunch until it’s time to go trash something again.

things get particularly bad after one minor cruise ship hijacking incident.

but in his defense, no one ever told him that breaking into the harbor and joy riding was a first-degree felony, worsened by the fact that he’d just so happened to crash the boat into the pier while he was trying to dock it.

at least he’d been sober.

though a monumental fuck up like this felt sort of inevitable; everyone who knew him probably figured it was only a matter of time before he went too far. how could he not when he was always chasing the next high?

still, the image rehab tour that follows is far from what he’d call enjoyable. he has to cut off all his hair and play nice at industry parties and waste time standing around being seen at charity events he winds up just cutting checks for instead of helping out at.

on top of the miserable community service comes the pr bullshit his team so loves -- dozens of tv appearances back-to-back where he’s herded around all day like cattle, in and out of green rooms with crappy coffee and bad catering.

he has no idea that showing up to be a judge on one in a million is going to change his life. hungover and running late, he barely even makes it to the taping of the semi-finals, slinking inside the concert hall in middle-of-nowhere, usa with a headache and some choice words for whoever thought this was the best way to clean up his image.

fortunately, raleigh manages to make his way inside virtually unnoticed. his phone is buzzing angrily in his pocket -- undoubtedly his manager trying to encourage him to hair and makeup or some other absurdity -- but he ignores it in favor of ducking back behind the line near the auditorium doors, only barely catching the last few words of some catty confrontation between two contestants as he goes.

as one of the girls stomps away, he sees the other’s shoulders slump from behind. “guess i’m not making any friends,” she mutters.

it’s clearly said to no one -- not even to herself, really -- yet for some reason, he can’t stop himself from responding. “where i come from, that’s a good thing.”

the girl’s shoulders straighten, but she still doesn’t turn around. “i’m not trying to succeed at the cost of others.”

raleigh smirks, leaning back against the wall beside his guitar case. “you do realize you’re at a competition show, right?”

“of course, but...” her hair ruffles with what sounds like a huff. she’s still not facing him, staring off at where the other girl she’d been talking to had run away. “that doesn’t mean i’m not rooting for everyone here to share their music with the world.”

“what a sweet sentiment,” raleigh drawls sarcastically, almost feeling a little bad for her and her naivety. this poor girl is going to be eaten alive. “it won’t last.”

her body tenses, her shoulders tightening again. he can almost see smoke start to pour from her ears before she spins suddenly on her heel to face him.

whatever sharp retort had been on the tip of her tongue gets swallowed with a blink as soon as their eyes meet. something like electricity crackles in the space between them, strengthening the invisible pull he’d felt when he first stopped behind her. instead, she only asks, “what’s your name?”

vi.

the man in front of her snorts. “very funny.”

a smile tugs at her lips. “very funny, that’s a weird name.” this is unlike her -- the quick comeback, the flirting. usually being face-to-face with a guy as good looking as the one talking to her now made her want to wither away and die, but something about the stranger standing before her sets her instantly at ease. “so, are you gonna tell me, or not?”

now it’s his turn to blink at her. a hand lifts to rub at his jaw. “huh. you really don’t know who i am, do you?”

cadence’s eyes narrow as she assess him. there is something vaguely familiar about that crooked grin, she’s sure of it.

at the very least, it’s an excuse to stare at him, and she does, moving her eyes slowly over the tattoos poking out over his jacket collar, the line of stubble on his sharp jaw, the glint of mischief in his eyes.

her helpless gaping is interrupted by a sudden shrill scream. “oh. my. god! is that raleigh carrera?!”

everything clicks at once. as a wild group of girls corner him, she realizes where she’s seen that smile before -- on just about every tabloid cover known to man, plastered all over convenience stores and the internet with headlines about his latest bender. in fact, she’s pretty sure he was just in the news for something similar -- crashing a yacht or something else ridiculous like that, something that only someone as rich as raleigh carrera could have accomplished.

then she realizes what he’d said to her, as soon as she’d turned to look him in the eyes. very funny.

her heart stops. all she can do is stare wide-eyed at him as he dispels the girls clamoring for a selfie, snapping back to the present when he waves one large hand in front of her face.

“sorry -- what?”

“i said, what’s your name? it only seems fair, now that you know mine, and all.”

“cadence,” she answers numbly, “i’m -- um, i’m used to your hair being longer.”

“cadence,” raleigh repeats, smiling at her, “so you do know who i am.”

“what do the magazines call you again? r&b’s time bomb? puerto rico’s hottest export? you’re kind of notorious.” she blinks at him, then admits, “i’ve heard your songs.”

“seen the tabloid covers too, eh?” the expression on his face suggests he’s almost proud of them.

this is surreal.

“didn’t you crash a yacht or something?” she asks, brain whirring into overdrive as she tries to process what’s happening. he doesn’t seem to have realized it yet, which gives her a moment to gather her thoughts, something that feels impossible when she can’t push the way he’d scoffed very funny out of her mind.

“or something. insurance paid out a couple million in property damage, but...” raleigh trails off, brow suddenly furrowing. he stares at her silently for a beat too long, then slowly turns a dull red. “hey, what’d you say earlier, again?”

cadence wets her dry lips, trying not to panic. stay calm, she silently coaches herself. raleigh carrera is not your long-awaited soulmate and you are not doing this in line to audition for one in a million. “i said -- what’s your name? and then you said...”

oh god, this is happening. her teeth dig into her bottom lip as she fidgets with the neckline of her top, tugging it to the side so raleigh can see the two words on her collarbone.

“very funny,” he mutters, “oh, jesus fucking christ. you can’t be serious.”

“me?” she demands, “you’re the one who --”

“next up,” calls a voice suddenly, cutting sharply through their argument, “contestant #9,276.”

her blood runs cold as she realizes that’s the number she’s wearing pinned to her shirt. she can feel herself start to sweat; how the fuck is she supposed to perform like this? she wants to throw up. why did this have to happen to her now? this was her shot -- her one fucking chance --

“hey, easy.” there’s suddenly two strong hands on either side of her shoulders, and she startles as raleigh stares at her from up close, closer than he was just a moment ago. “relax, okay? you’re gonna be fine. you’ve got this.”

“but --” she starts, then realizes her mind is racing too quickly to even articulate what she wants to say. she settles for shaking her head, eyes wide and panicked. “i can’t just -- oh my god, i’m going to throw up.”

“here,” raleigh directs, “take my guitar. prince gave it to me as a birthday present.”

prince?! she mouths hysterically to herself, as he flips the latch on his case open and pulls out the instrument. “how is this supposed to help me?”

“just trust me,” he says, giving her a gentle nudge towards the auditorium, “now go.”

she does, stumbling forward with the most expensive piece of equipment she’s ever held in her hands in her life alongside her, drawing in a deep breath as she makes her way onto the stage.

she can do this.

everything else will have to come after.

vii.

the thing is -- she’s talented. exceptionally so.

he can tell she’s a little nervous, but maybe that’s just because he’s used to looking out for that sort of thing; he could probably recognize it more easily than the average person would. it probably has nothing to do with who they are, how he notices the nuances in her body language...

her belt is impressive. her voice is stunning, clear and uniquely melodic. his guitar looks spectacular in her hands, and cadence plays it like she’s been practicing on it her entire life.

he tries his best to look nonchalant, feet kicked up onto the seat in front of him, but when she locks eyes with him from the stage he knows he hasn’t succeeded. raleigh’s breath catches, and he stares back at her, transfixed by the way her dainty hands cradle the neck of the guitar and strum the strings, how her lips purse around the long, emotional high note at the end of the song’s chorus.

she’s really very pretty.

he’d probably be lying to himself if he said it doesn’t make him a little bit jealous and uncomfortable, watching how she and avery fawn over each other when she’s finished. he’s probably a much better suited match for her, clean cut and pristine as he is.

he wonders if she’s disappointed that it’s him -- that it’s now, when she’s clearly on the cusp of something great all on her own.

it’s a lot to think about, and so he dips out of the auditorium before she finishes up, rushing outside with his heart pounding. it’s not until he’s halfway through the crumpled pack of cigarettes in his jacket pocket that raleigh starts to relax even an iota, and of course that’s when the stage door he’d left propped swings open wide and cadence’s sneakers hit the asphalt beside his boots.

“uh, you can’t just leave me with this thing,” she says, apropos of nothing, and as he stares at her he realizes she’s talking about his guitar, which she’s holding in one hand like it’s a dead fish. “this costs more than everything in my apartment combined, i’m sure.”

he shakes his head at her, laughing as his fingers flick ash from the cigarette he’s holding. “no way -- you should keep it. you two looked perfect together.”

she hesitates, looking down at the instrument again. he can see in her eyes that she’s torn; it’s obvious she knows the right thing to do is to refuse a generous gift from a stranger, but she wants to keep it, and already his mind is racing as he considers what else he could give her that would excite her like that -- a private flight, a tour of his penthouse, a million dollars.

“are you sure?” cadence asks, without looking at him, and the hesitancy in her voice makes him realize how unsure she really is. she’s the one who’s wondering if he’s disappointed in her.

he licks his suddenly dry lips and drops what’s left of his cigarette to the ground, finding he doesn’t actually need the rest of it, anymore. “positive.”

viii.

they don’t actually get to spend a lot of time together, while she’s filming. she has to focus and it seems like she’s always busy, somehow -- not that she sees raleigh very often in the first place.

the days are spent rehearsing with avery and cramming in as much mentoring as possible, and when she can pull herself away from fiona’s lessons on image to get home at a reasonable hour she collapses into bed pretty much immediately, out like a light from the whirlwind of the day and hardly even aware enough to dream.

but that doesn’t mean she doesn’t think about him. she does, especially on the rare occasions she manages to catch a glimpse of raleigh walking around in the studio, or on one memorable evening she stays late in the auditorium to bang on the piano keys of the beautiful, enviable baby grand on set and startles to find him leaning in the doorway, watching her play.

it’s all a blur and wildly difficult to process; just when she thinks she has a grip on things she remembers the private moments she’s had with raleigh and her emotions tumble to pieces again as she lets the weight of the implications of what’s going on between them crush her completely.

one moment sticks out on her as being particularly worrisome, insofar as how it bodes for the rest of her life.

it feels like something significant from the moment raleigh offers to help her warm up; they’ve hardly had a moment alone together in days and she still has absolutely no idea how she’s supposed to talk to him or what she should say, but for some reason the conversation flows easily and she hardly has to think about the (no doubt incredibly stupid-sounding) words coming out of her mouth.

“you’re going to kill it,” raleigh says finally, once they’ve worked through all the exercises in his arsenal, “you really don’t need my help.”

never in her wildest dreams did she ever imagine someone like him would say something like that to her. “you think?”

“i know it,” he answers confidently, shrugging his shoulders like it’s that simple. “and you should, too.”

there’s a moment of silence where they just stand there staring at each other, ignoring the restless murmuring of the crowd outside that’s waiting for him to slip into his seat at the judge’s table. she’s effortlessly lost in raleigh’s eyes, so fixated on the intensity of his gaze that she doesn’t realize he’s leaning in closer until it’s too late.

“insurance policy,” he mutters, before he kisses her, hands cupping her face gently.

for a split second, she stands frozen, shocked totally still. then, her brain reboots enough to propel her into motion, and cadence gets with the program enough to wind her arms around raleigh’s waist and pull him closer and kiss him back, until her heart’s lurched up into the throat she’d just been warming up, pounding relentlessly.

they make out until the roar of the crowd is deafening -- until it’s impossible not to acknowledge it any longer.

of course raleigh’s a life-ruiningly good kisser. why wouldn’t he be? why should any of this be easy?

it’s only a few simple touches, but raleigh’s mouth leaves her dizzy and lightheaded when she’s supposed to be concentrating on performing, and, independently of the way she’s blinking at him in stupid shock, cadence already knows she’ll never be able to kiss anyone else ever again without thinking about him.

“i have to get out there,” she gasps between desperate presses of their lips against each other, grasping ineffectively at his clothes while his fingers tug her hair out of shape.

“be late,” he suggests, “it always works for me.”

but she’s not him. she’s not like him -- they have nothing in common. they come from different worlds; they’re two completely opposite people.

and yet every minute with raleigh is like coming up for air after being underwater for years, like the knots of guilt and shame and awkward embarrassment she’s carried around for her entire life without understanding why she has them are slowly starting to undo themselves, unlaced by his careful fingers.

they make it out there. eventually.

before she knows it, confetti’s raining down from the ceiling and falling all over her, and she locks eyes with raleigh from across the room to find his lips pulled into a genuinely affectionate grin -- lips that she’d just kissed for the first time a fucking hour ago and, seriously, what is her life now -- his eyes bright and excited.

things just keep getting weirder and weirder, but the way they’re beaming at each other like idiots in a room full of thousands, broadcast on national television, too, makes her think things might be pretty great, too.

ix.

it sort of takes them a long time to getting around to talking about it -- the soulmate thing.

it’s not that he doesn’t try. he does, but she’s got a lot going on, these days: a big move and a new record deal and days filled with songwriting and nights out being seen. he’s still on his image cleanup tour, while she’s at it, so his fake smile stays fixed on his face throughout another boring week of restaurant openings and charity events and talkshow appearances before he finally gets the chance to spend some time with her again.

they text here and there, but nothing pans out until the stars align and they manage to slip out of the back door of a nightclub unnoticed together after a night of dancing too close for the comfort of her publicist while avery and the others cause a commotion at the front entrance to distract the press.

she goes back to his penthouse with him. he can’t remember the last time he brought a girl back to his apartment just to talk, and especially not one who spent the better part of the evening in a sparkly minidress grinding against him.

but here they are.

“so -- how’s the city treating you?” raleigh asks, pouring them both a drink he doesn’t want from the bar cart in the corner of the room for something to do with his hands.

cadence shrugs from where she’s perched on the edge of his sofa, tugging at the hem of her dress. “good, i guess. it’s honestly all kind of overwhelming.”

“yeah,” he nods, passing her one of the glasses in his hands and taking a seat on the ottoman in front of her, close enough to see her face in perfect clarity but still maintaining a distance that he hopes is respectful. “i know what you mean. when i first came here after joining sunset skatepark everything felt so... huge.”

“totally,” cadence answers quickly, nodding in a way that’s almost aggressive. “i mean, there’s so much pressure to deliver an album right away, but i want it to be perfect, and the studio is so different from, like, writing songs in my room at home, and i... i guess i feel kind of homesick, but -- not for my hometown. i hated that place.” there’s hesitancy in her gaze when she asks, “do you know what i mean?”

“yeah,” raleigh says again stupidly, because the truth is -- he knows exactly what she means. cadence has just articulated something he could never quite put into words better than he’d even thought the sentiments to himself. “it’s like... nostalgia for something you don’t even want.”

“exactly,” she breathes emphatically, and then they’re kissing again, and she’s in his lap on the ottoman and he definitely brought her here to talk, for sure, but is it really so terrible if they get a little sidetracked on the way to their destination?

well -- they wind up making out for hours. so, there’s that.

it’s not part of the plan but it’s a hell of a side quest, memorizing the shape and feel of her with his hands while her lips pull every last bit of breath from his lungs, until he’s lightheaded and dizzy in a way no other girl has ever made him, before. it’s to the point where when he finally finds it within himself to push her away, he’s uncharacteristically nervous -- something that’s never happened to him before, not even on the night he lost his virginity.

“i really did ask you over to talk,” he says, voice hoarse.

cadence licks her lips and then beams at him, eyes sparkling. “i know.” she shuffles delicately back onto the couch, lingering in his lap for only a moment before pulling away entirely. he stuffs his hands under his thighs to stop himself from reaching out for her again. “sorry i haven’t been around more.”

“you don’t have to apologize.” raleigh shakes his head. “i should be apologizing to you, i feel like... i should be the one who’s around, to help you with all of this. or at least -- i want to be. i don’t know if i’ll be any good at it.”

he blinks, surprised by his own honesty. he hadn’t meant to say all of that, but the words came up before he was cognizant of them and now they’re out there, and there’s no taking them back -- especially with the way she’s looking at him, all soft and sweet and happy.

“well, you don’t have to be good at it,” cadence murmurs, reaching out for his wrists and tugging his hands free so she can interlock their fingers effortlessly. they fit together like puzzle pieces. “you just have to be you.”

her budding relationship with one of the biggest names in r&b doesn’t have much time to bud at all before it’s rudely plucked from the plant and stepped on.

she finds herself blinking at fiona in confusion as the words take some time to process. “you want me to do what?”

xi.

raleigh balks at his manager, shaking his head emphatically. “no,” he spits out, “absolutely not.”

xii.

“cadence, it’s not a big deal,” fiona tells her, very nearly rolling her eyes. “everyone does it. you go on a few dates, play up the relationship for some photos, social media eats it up -- boom, you’re a star.”

“i don’t know,” she answers hesitantly, mind drifting back to the photographers that have already been following her around, screaming about avery when she ducks into the car with him. things with raleigh are... new, and complicated, and do they really need to add public scrutiny into the mix as well? “i just don’t think it’s a good idea.”

“it’s a great idea,” fiona sighs, shaking her head. “all our focus groups agree. the label thinks it’s best, what with your single taking so long to put out.” she opens her mouth to protest -- it’s not like she’s dragging her feet on purpose -- but barely has a second to get a word out before fiona continues, “besides, raleigh does this all the time.”

her teeth bite at her bottom lip uncertainly. “he does?”

“of course. chantal clearwater? she was a pictagram model when they met, and now she’s opening shows at paris fashion week. it’s just business.”

it’s not, though. it could never be just anything, for reasons no one else knows about except the two of them, for reasons she’ll never tell. “well... what did raleigh say about it?”

xiii.

“i said no, frank.” he’s annoyed, now, and his manager knows it, raleigh’s arms folded across his chest and his eyes set into a glare. “n. o. no.”

“and i hear you, but is it really the end of the world? she’s exactly what we’re going for, and i know you already get along --”

“which is exactly why i don’t want to do this. so pick someone else. anyone else.” he’s not going to let his label turn her into one of the girls he has to be seen with for fake photos and mutually beneficial positive press.

for so many years, he’s watched people fake feelings and use each other -- willingly participated in the using himself, too, more times than he can count. he never cared about any of it before.

but being with cadence doesn’t feel fake, and he doesn’t ever want it to. and he knows that if he agrees to this, everything he enjoys about spending time with her will disappear in favor of the ugly, plastic decay that’s eaten away at so many of his personal and professional relationships before. organic, genuine time with her will become strolls near celebrity hotspots, angling just right to help the cameras get the perfect shot. he’ll show up to support her at shows because her publicist called him, and their time together will become some manufactured narrative meant to push their labels’ agenda, until six months down the line they don’t even recognize themselves or what might’ve been if they’d done things a different way.

“look, there isn’t anyone else. her team’s already agreed to it, and i’ve got brunch set up for sunday. all you have to do is play nice for two fucking months, raleigh. is that so impossible for you?”

yes. already he feels a deep-seated desire to go somewhere and break something, to tear through the flower beds in central park with his motorcycle and wink at the cameras when they catch up to him.

instead, he storms out of the office he’s in, and into the sunlight, tugging the hood on his jacket up and melting into the crowd on the corner so he can be as anonymous as possible when he picks up his phone and calls cadence.

“hey raleigh,” she chirps as soon as she picks up, sounding far too cheerful for someone who’s likely had an equally as miserable early morning meeting on a friday. “guessing you heard the news?”

“can’t i just call you to say hi?” he grumbles, ducking his head as he strolls through the intersection with the mob of people crowded along fifth ave, turning down the next side street so he’s alone again, with no one following, just like that.

“well, you can,” she teases, and some of the anger he’s carrying around with him fades, dissipating into nothing and evaporating like smoke. “but you’re not.”

“no, i’m not,” he agrees with a sigh, shaking his head. “you sound surprisingly cool with it, though.”

“should i not be?” cadence laughs, but he can detect a thread of nervousness in her tone. “i already want to hang out with you. we have the same friends and work in the same industry. we’re... probably going to go on dates anyway, so... how hard can this be?”

god. she has absolutely no idea. part of him thinks it’d be cruel to burst her bubble, but he should warn her, shouldn’t he?

she sounds so optimistic about it, though. it’s hard to feel anything but hopeful when her voice turns up like that at the end. in the back of his mind, there’s a voice that’s not his suggesting maybe this time, things will be different.

surely he knows better than to think something as ridiculous as that, though, right?

“well, i guess it’ll be interesting, at least,” he muses, slowing his steps by the entrance to the subway.

he’s going to lose his signal just as soon as he heads underground, and he’s not quite ready for that, yet.

xiv.

time with raleigh flies by.

it doesn’t feel like they’re fake-dating -- they do everything she hopes he’d want to do with her anyway, like go out to eat at fancy restaurants and take walks through the park and bounce melodies for songs off of each other, facetiming late at night from their apartments or on the days he visits her and micah in the studio.

he’s by her side for the release of her first single, and her first music video, and through it all, raleigh plays the role of the doting partner perfectly, holding her purse on the red carpet and feeding her paella at a strategically-placed outdoor table and fetching her coffee order when she’s too busy to stop writing for even just five minutes.

in the blink of an eye, it’s time to put out her album -- just like that.

raleigh’s perfectly charming through that process, too. he shows up on time, says all the right things, and keeps a drink in her hand all evening long, so that when she’s finally done making the rounds and can enjoy herself after the entertainment and the networking and the schmoozing she’s giggly and touchy, doing her best to steal him away from the crowd.

“what were your other relationships like?” she asks, half expecting him to brush her off, though he’s always indulged her before. they’ve never really gotten this personal. “fake or... otherwise.”

“they’ve all been fake,” he shrugs, “and i can say with confidence that you’re the best one i’ve ever had.”

“really?” cadence smiles, chin propped up on her hand as she leans over the bar. “be honest. what did you really think, when you realized it was me?”

“what?” he asks, pushing the empty rocks glass in his hands around on the bar top, “you mean this thing?” he gestures at his arm, covered in expensive, custom tom ford, and the tattoo laying innocently beneath it.

“uh huh,” she confirms, “‘cause i was totally like oh shit.”

raleigh laughs, loud and wild, the sound swallowed up by the noise of the party around them. no one nearby is paying them even an ounce of attention, and it’s fun, to be anonymous at her own party, invisible to everyone in the room except for him. “i can imagine. i wouldn’t want to be stuck with me either.”

cadence shakes her head -- that’s not what she’d meant. but before she can protest, he rolls his glass between his palms and thoughtfully continues, “i guess i was a little surprised. it felt like i’d been waiting forever to meet you, so part of me was like, fuck, we’re doing this now? and i never thought it’d be someone so...”

“boring?” she suggests, eyebrows arching when raleigh’s expression immediately twists into one of disagreement, his nose scrunching up with distaste.

“no,” he huffs, “so... good, i guess.” she stares at him as he reaches for one of the waiting tequila shots on the bar, pulling it away from the line he’d set up for the crowd he’d been with before she’d tugged him to the side to talk, leaving the drinks untouched. raleigh knocks the shot back -- no salt, no lime. he’s had twice as many drinks as she has, and she’s definitely feeling them -- she has no idea how he’s even still upright, no worse for wear other than a few slurred words here and there. “but you just are. it’s like every song i’ve ever written was about you, and i just didn’t know it yet.”

the noise of the party fades in favor of the pounding of her heart, loud like a kick drum in her ears. she bites her lip and stares at him, watching as raleigh shakes his head at himself, dazed. “you okay?” she asks quietly, leaning in a little across the bar.

raleigh’s quiet for so long she has to wonder whether or not he actually heard her. just as she clears her throat and opens her mouth to repeat herself even louder, he nods, reaching across the bar and squeezing her hand before dragging her back over to the line of tequila shots waiting for them to enjoy.

the night is a blur after that, and there’s patches of the evening that are fuzzy in her memory the next morning, but she knows she’ll never forget the gentle kiss goodnight raleigh gives her when he helps her stumble into the car back to her apartment at dawn.

xv.

things go really well, until they don’t.

they have a blissful six months together with more fun than he’s ever had with anyone. slowly, he learns every single thing about cadence and returns her openness with honesty of his own -- honesty that feels strange and unfamiliar but weirdly thrilling, in a way, made easier every time one of his stories pulls a laugh or smile from her.

it seems unnatural, having a honeymoon period that goes on for so long. in the entire time they’re dating, he doesn’t destroy a single thing -- doesn’t even want to, which is the weirdest part of it all.

there are some moments that catch him completely off guard. more than a few times, he hardly even recognizes himself, she turns him into such a different person.

he doesn’t hate it, though -- just the opposite, in fact. raleigh realizes he’s really starting to like the carefree, far from jaded person he is when he’s with her, though it only hits him for real when he’s watching her storm away from him on liberty island, eyes fixed on the angry sway of her hips.

he stews on it on the long ride back to his penthouse; the game had, admittedly, been starting to wear on him. but he’d gone along with it because it was supposed to benefit her -- he’d agreed to the stupid public breakup and following the rules and not seeing cadence in public for the foreseeable future because it was what she wanted, and -- frankly, it felt like a stupid fucking decision.

not that it lasts long. he starts texting her just as soon as he’s done washing electralite out of his hair and doesn’t make it more than twenty minutes when they first see each other again at the moda gala before he’s sneaking off with her, ducking under the velvet rope that demarcates the planetarium as ‘off limits’ with her hand tucked neatly in his.

“maybe this is better,” cadence muses between sips of her drink, her eyes on one of the stupid glass exhibits he couldn’t possibly care less about. “now we can just be together -- no pressure. our relationship is ours again.”

their relationship. is that what this is? they’ve spent a lot of time talking about who they are and what they like and don’t like, kissing and touching and holding hands. throughout it all, he’s done his best not to buy into the ‘soulmate’ bullshit too heavily, but over the last few months it’s been hard to deny that there’s a reason he was meant to meet her, that she’s been changing him from the inside out.

“what’s on your mind?” she asks, turning towards him with an open look of genuine curiosity on her face, like she really wants to know.

“it’s nothing,” raleigh answers at first, reflexively, like he has so many times before. no one has ever really wanted to know. but cadence’s eyebrows arch, and she waits, patiently silent, and then the words tumble out of him. “it’s just that -- my whole life, i’ve watched other people use each other. so many people are just interested in the concept of celebrity status. so i played the game. never trusting anyone.”

he shrugs. a hand lifts to rub his jaw, and he looks back to meet her gaze just in time to see the little smile playing at her lips, like she already knows what he’s about to say. “but it’s different, with you. you make me not want to be that person anymore. when i’m with you, it’s the only time i feel anything real.”

“raleigh,” she murmurs, her expression flickering before her face does something that cracks his chest wide open. her eyes go all shiny and sparkly and her cheeks crease with a grin, and the way she laughs is so ridiculously joyful the hand he has stuffed in his pocket curls into a fist to stop him from doing something stupid. “i feel the same way. i just... this whole thing, i know it doesn’t always -- work out, but... with you i really want it to. i’ve never felt this way before about anyone, and i think...”

there’s a pause as her lips purse thoughtfully, and then she says the words that make it impossible for him to do anything but close the distance between them and kiss her over and over again: “i think even without this tattoo it’d be you, anytime, anywhere.”

xvi.

being raleigh carrera’s (real, confirmed, 100%-authentic) girlfriend feels almost too good to be true.

raleigh is... everything she never knew she wanted in a boyfriend, wrapped up into one tall, dark and handsome package, with a loud, goofy laugh and a deep, sexy voice that sends a shiver down her spine whenever his mouth so much as lingers near her ear for too long.

it turns out that, despite their differing status in the industry and her initial assumptions that they came from two completely different worlds, they’re actually on the same page about pretty much everything. she finds that the pressure of the word she’d held in such high regard for so long -- soulmate -- disappears entirely where he’s concerned because being with raleigh is just fun.

there’s motorcycle rides and boat trips and hours up late talking about everything and nothing; facetime calls with his mom and shopping trips where the stores are kept open late for them so they can shop alone, in an empty boutique, like every teen movie she’d ever watched growing up.

there’s late nights in the studio and either of their apartments where they both noodle around on their guitars and improvise half-hearted duets, content to just work in the same orbit as each other for as long as possible.

raleigh’s texting one night on the couch in her living room when she plucks out the melody to who i’ll be on her old acoustic, sitting on the floor in front of the tv.

he looks up before the first verse is over. “what’s that one? it sounds good.”

“oh -- just a song i wrote in college,” cadence hums, already downplaying it as she lifts her shoulder in a shrug. “i got stuck, never finished it. ellis made me sell the progress for some other writer to finish.”

he frowns, pushing up onto his elbow. his phone is tossed carelessly somewhere among the couch cushions. “why?”

“because i was taking too long with the odyssey,” she sighs. “it was kind of my only option. it’s weird, though -- thinking about someone singing something that was so personal to me.”

“play me what you had so far,” he says, and so she does, hesitating for only a second before strumming the chords, singing the lines she had slowly.

when she’s done, she looks up to find that raleigh’s slid to the edge of the couch, elbows on his knees as he leans in as close as he can get with the coffee table in his way. “okay -- that was beautiful. you should finish it.”

she shakes her head, setting her guitar down. “i can’t. they already sold it. and even if i wanted to... i don’t know how it ends.”

raleigh’s legs spread in invitation and she stands to walk around to the couch, slipping into his lap and leaning back against his chest. his hands are tender as he rubs them across her shoulders, sliding up her back before one lifts to brush a lock of hair back behind her ear, his pointer finger pushing her glasses up her nose affectionately. “maybe one day you can write something else with the same theme,” he suggests, and she tries her best to smile even though it feels like a dream lost, somehow -- a ridiculous thought, given that she pretty much has everything she ever wanted, but the way she feels all the same.

“maybe,” she sighs, the kiss he drops to her forehead a bandaid on a wound that’s been doing its best to heal for what feels like her entire life.

xvii.

he’s never brought a date to the vinyls before.

there’s been plenty of after parties he’s stumbled out of with a girl on his arm, sure, but cadence is the first person to sit by his side during the ceremony, and he’s surprised by how much he likes having her next to him.

then again, he’s self aware enough to realize he’d like being pretty much anywhere, with her.

still -- the awards are a lot less boring with her around to kiss and stroke his hair and make snide commentary about the rest of the attendees with, and when she squeezes his hand goodbye to rush backstage and get ready for her performance he misses her instantly.

what happens next makes him endlessly regretful of the fact that he’s not backstage with her.

he rushes around just as soon as he can, pushing his way through security and frantically scrambling technical assistants to find her exactly where he thought he might, between ellis knight and fiona, looking lost with her head in her hands.

she seems equal parts broken and pissed in a way that tugs at his heartstrings and makes him a little bit proud. raleigh shoves through the crowd to get to her and slips an arm around her waist. he’s only caught the tail end of the conversation they’re all having, but he knows enough to know that “you can’t bench her. that’s bull.”

ultimately, though, it doesn’t matter how much they stomp their feet. she’s under contract, their hands are tied, and he walks away seething at the unfairness of it all, this shitty industry that’s turned on her when all she ever wanted to do was make music.

she cries in the car back to her apartment to pack her things. there’s no way he’s letting her go home to iowa or idaho or indiana without him, and he barks at his team over the phone until they agree to move his appearances around so he can make that happen, his free hand clasped tightly in hers until he physically has to let her go so she can unlock her front door with trembling fingers.

cadence tosses clothes haphazardly onto the bed and he silently and precisely moves to folds each piece for her, until she gives up and sinks down onto the edge of the mattress, defeated.

wide eyes filled with tears lock onto his, and he watches her bottom lip wobble before she says, “you really don’t have to do this. come with me, i mean. i know i messed up, and -- you have so much else going on. i don’t expect you to --”

“i’m coming,” he states firmly, setting the sweatpants in his hand down and stepping closer to her, sitting beside cadence on her bed. “what happened tonight was fucked up, cadence -- it shouldn’t have happened at all. i’m not going to let you go through this alone.”

“but --”

“but nothing,” he says, and before the words have even left his mouth she’s falling into his arms with a soft sound of gratitude, mashing her face into his chest as she sniffles.

“thank you,” cadence mumbles, sounding so unsure of herself it makes him wonder if she’s ever had anyone show up for her when it mattered most before, or if that’s yet another thing they unfortunately have in common.

xviii.

raleigh tries his best to cheer her up, but it’s still hard, feeling like she’s let the entire world down. her fans. herself.

there’s something embarrassing about showing raleigh her apartment back home and the person she was before she met him -- all the places she felt most uncertain and where she experienced some her worst self-doubt, the room that still has the smoothie star apron hung up in the closet.

but there’s also something exciting, about being totally off the grid with him. no one knows they’re here and there’s no paparazzi waiting to snap photos of them -- especially given the fact that they don’t leave her building for the first three days she spends moping around while raleigh orders all the takeout he can get his hands on.

it sort of reminds her of when they first met, and there was nothing to do but learn about each other, though now there’s a familiarity to him she relies on, a unique raleigh-ness that feels more like home than this shitty apartment ever did.

still, she struggles, and the weight of the world doesn’t let up until zadie shows up with her fanmail and avery does his best to make her smile with a beach trip and some fancy new toys and a day in the sun with a drink in her hand.

eventually it’s just her and raleigh again, out by the fire after everyone else has gone to bed. her stomach is full of s’mores and her cheeks hurt from smiling for the first time in weeks, and it’s a shock when she realizes she feels content, even after everything that’s happened -- almost as though things will all work out for the better no matter what happens next.

“oh my god,” she gasps suddenly, cutting off what raleigh had been saying as her eyes light up and she hastens to stand. “i’ve gotta -- i need to -- oh my god.”

just like that, she knows how her song ends.

recording it is a process, but raleigh calls in some favors and gets them studio time and agrees to be featured on the song even though she knows he’s still working through a sound change that he feels unsure about.

but it means a lot to her, having him crammed in the booth at her side, singing into the same mic. they sound almost unbelievably good together, too, raleigh’s harmonies on the words that finally resolve that lost feeling she’s been harboring her entire life making something deep within her wriggle up happily, wagging its proverbial tail.

the fact that raleigh remains by her side throughout the entire fight with her label, the long nights of despair agonizing over what her next move is going to be and even the moment where they decide to break into indio, of all places, means more to her than she can ever say. she feels markedly less nervous about the entire thing every time she turns her head to the side and sees him, right there next to her -- right where he’s been this entire time -- smiling encouragingly and squeezing her hand hard in his.

though it’s not until they’re up at the top of the ferris wheel that she realizes how precious what she has really is. it’s not until he looks her dead in the eye and says, with that same soft earnestness he’s awarded her since they first met at the one in a million auditions that feel quite literally like a hundred years ago, “cadence, everything you want is on the other side of fear. and i want you to have everything you want,” that she truly understands that’s what between them is special and rare.

not because of any tattoos, or any preconceived destiny. not because of who they are and their status and the fact that people take pictures of them when they’re out in public together.

but because of this -- all these real moments of genuine connection they’ve been fortunate enough to share since fate threw them into each other’s paths.

“raleigh, i love you.” the words are said easily, not a moment’s hesitation behind them.

just before she crosses over in the cart to kiss him until they’re both breathless, raleigh gifts her the brightest smile he has and says, “i love you, too.”

xix.

the night is a blur from the moment he first takes the stage with his old bandmates to when he finally finds himself alone with cadence in a rundown old motel a few miles out from the festival in the desert.

he can’t recall ever being so happy, so of course he doesn’t remember every agonizing detail of the evening, though he does know he doesn’t feel the need to have a single beer with cadence around, twirling barefoot in the grass and giggling when she leads him up to the room they’ve borrowed.

afterwards, when they’re sitting on the roof together in the blanket they dragged off the bed, he reflects on the wild year they’ve had with her in his arms, fingertips tracing the delicate very funny scrawled across cadence’s collarbone.

he feels... free. completely liberated. like there’s absolutely nothing and no one that can get to him, now, like he’s untouchable, like he doesn’t care about a single thing that happens after today and how perfect things have been.

“i think i’m actually freer than i’ve ever been,” he muses, where his lips are pressed into her hair, “i can take my sound in any direction i want.”

“i’m so happy for you, raleigh,” cadence returns genuinely, tilting her head back so he can see her upside-down smile.

his arms tighten around her. “i’m so excited for what you’re gonna be doing, too. i’m excited for us.”

“yeah,” she sighs, “who knows what’s next, right? now that ellis let me out of my deal...”

he can hear the thread of worry undercutting the words. he shakes his head, hands rubbing up and down her arms. “you can worry about that tomorrow. for tonight, just enjoy the comeback. what you did out there was amazing.”

“what we did,” she corrects, and he blinks up the stars as he realizes she’s right -- they’re a we now. he’s part of a we again, after being on his own for so long.

the phrases bounce around in his head, unfamiliar and foreign. me and my girlfriend, he thinks to himself, cadence and i. we’re going to be late. we’ll be away that weekend. we just started watching that show. we, we, we.

“what we did was amazing,” raleigh amends, the words slow to come out but feeling right all the same. “whatever we do next will be amazing.”

“absolutely,” cadence confirms, with conviction, like it’s something she believes wholeheartedly.

and though he has no idea what to expect or what it might be, a large part of him is inclined to agree with her -- she’s been right about everything else so far.

xx.

one year later, she’s finishing a set in berlin, the last stop on a sprawling european tour that had taken she, avery, micah and raleigh across the continent for dozens of performances to sold-out crowds of thousands screaming her lyrics back to her.

if her contract with overknight had been a dream come true, signing to wilshere records is heaven incarnate. cadence’s trip through the u.k. with her new label is proof enough, and the chance to meet new fans with new stories to share that she could connect with is one she’s taken to with enthusiasm, the experience made all the sweeter by the fact that her favorite people get to be by her side throughout it all.

berlin’s crowd is one of the best, and she fully expects to end the tour on a high note, head banging to the last few notes of ‘knockout’ before raleigh’s planned entrance for the last song of the night, so they can sing the duet that’s closed out every show they’ve had on the tour together.

when he struts out with his guitar, waving and grinning at the crowd, she can’t stop herself from smiling stupidly at him, just like she does every time she sees him join her on stage, every time she realizes that this is their life, that this is something they do every night, now.

though her grin falters when raleigh pauses in front of his microphone and asks, “berlin, do you mind if i talk a little bit before i start the song? no? cool, because i’ve got an important question to ask.”

her eyes widen. cadence’s mouth drops open and doesn’t close throughout the entire speech raleigh gives her, even though thousands of people in the crowd are filming every moment of her gaping like an idiot, snapping close-ups of her shocked face.

the arena practically vibrates with screams when he drops to his knee, popping the box in his hand open so she can see the giant diamond ring nestled inside of it.

“so?” raleigh asks, and cadence can just barely hear him in her in-ears with the way her heart is beating frantically up into her throat, as wild as the crowd’s raging around them and then some. “whaddya say, babe? will you marry me?”

as if the answer could ever be anything but yes. she nods, laughing as she launches herself into his arm for a kiss that’s too grand to be given on stage, though that’s hardly going to stop her -- not tonight, at least. tonight, she’s okay with the whole world watching their every move, just one more time.

“oh, i don’t know if it’s going to fit,” raleigh jokes as the ring slides easily onto her left hand, amping up the theatrics for the fans still watching them avidly, even up in the cheap seats.

cadence rolls her eyes playfully at him. “very funny,” she praises, and the grin he offers her in return is so loving -- so knowing, with the secret that only the two of them share and every weird piece of their history included in it -- that it takes everything she has to shove him away so they can perform instead of dragging him down to the floor to kiss him over and over again.

clumsily, she flubs a few notes of love who i’ll be on her guitar. from across the stage, between the bridge and the chorus, raleigh jeers, “someone hasn’t learned to play with the extra weight on their left hand, yet, i see,” and when she flips him off while belting out the last lines of the verse, his raucous laughter is all the harmony the final few bars of the song needs.

#platinumweekend #platinum #raleigh carrera #raleigh carrera x mc #cadence dorian #raleigh x mc #raleigh x cadence #myfic #long post #well. this sure took me a long time DFJGHDFJHGDFJKGH so i hope you guys like it !! it was kind of a new style for me 😳

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shapiros · 3 years

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TASK 01. BLAIR’S ROOM

blair’s had the same room since childhood. it was technically her older sister belle’s room first, but it was converted into blair’s nursery when belle went off to college – belle still brings it up like she’s bitter about it, despite having her own house and family now. over the years, gaudy wallpaper stripped from the walls, which are now drawn on in sharpie or other wall decoration that blair’s either drawn herself or it’s been done by friends. band posters, concert tickets, album art, you name it, it’s probably been pinned up by pushpins at some point. there’s clutter on most surfaces – candles, a bong, a ceramic bowl full of jewelry, loose change and cash, books full of pressed flowers – and it might look a mess but blair would be able to tell you where absolutely everything is, like organized chaos. her pride, of course, is her music collection, shelves full of records and cds – a perk of working a record store in her teenage years, carried into adulthood, and there’s usually something old and classic playing on her record player.

what’s in your muse’s junk drawer? a couple different kinds of rubix cubes, cds without cases because she forgot which cases they belong to, fish food although she hasn’t had a fish since the third grade, a bunch of stickers, a couple nude polaroids she took of herself, a bunch of beads and jewelry-making supplies, a couple lighters, and books full of pressed flowers.

if there was a fire, what are the top 2 things your muse would rescue from their room? 1) a signed copy of elvis presley’s album ‘moody blue’ that she stole from her mom. 2) her favorite pair of jeans, you know the ones bc you’ve probably checked her out her ass in them

what’s hanging on their walls? oh, just about everything. concert tickets, old scratched vinyls, bus tickets, different posters – featuring movie posters of vertigo and blood simple, elvis, the rolling stones, and gwen stefani with her blue hair. there’s polaroids of her friends that have been taken and taped to the walls. there’s lots of stickers too, and portions of the wall have been drawn on, painted on, or even sharpied by herself and her friends.

how often do they clean it? rarely. occasionally if shit starts to look dusty, she’ll go over it with something and run the vacuum quick, but usually there’s an air of organized chaos to everything that comes with not straightening the room very often. she likes the way it is, lived in and honestly her, and she thinks her room is one of the most comfortable places she could have envisioned. it remains a stark contrast from the rest of her house.

do they keep anything in their room that they wouldn’t want anyone else to see? since she came back from LA, she’s been keeping a diary of some things that she doesn’t know how to say. she’s not comfortable with many people reading her writing anyway, because it’s not good and she was made fun of a lot for her issues with spelling as a kid, but she especially wouldn’t want anyone to see that. she also bought a record in LA that she’s been keeping under her bed not sure what to actually do with it, she’d probably throw hands if someone tried to ask questions about it. she burned a lot of the things she brought back from LA though, seeing them in her room was making her feel sick.

what’s on their bedside table? blair doesn’t have a traditional bedside table because she uses the windowsill ( pictured above ) , but you can find her alarm clock – though she’s rarely set an alarm, a bong, a carton of cigarettes, a fishbowl, a candle, an ashtray, a bottle of gin turned into a vase, and a couple succulents.

#volumetask #* 🎵⠀ / ⠀ 𝙁𝙄𝙇𝙀𝘿 𝙐𝙉𝘿𝙀𝙍 ⠀ ﹕ ⠀ ❪ ⠀ aesthetics. ⠀ ❫

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zwritestuff · 4 years

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wip list

*whip sound* YEEHAW. i had to hop on this, because i have more wips than fics. everything is under the cut.

started and posted:

don’t say maybe: anothe pathetic crygi high school au with hopeless lesbian pinning after gigi and bisexual gigi trapped in a relationship she doesn’t want to be in anymore. there’s also dusty and blair over there in the background.

only fools fall for you: sugar baby scarlet pins after underdog yvie oddly and thinks it’s one-sided, but GEE, underdog yvie pins after her too! there’s branjie there too, but no one knows how to properly communicate so shit takes a long time.

only angel: this is me living my impossible dream of being a victoria’s secret angel and getting a designer gf through scyvie. that’s literally it.

in the dark: vanjie is a vampire, brooke is a bastard witch that she feeds off from. scyvie is there trying to kill each other until they don’t. there’s also someone that wants to kill brooke but that’s beside the point.

blow a kiss, fire a gun: mafia au in collab with lily! nicky pins after a cop and crystal is getting coochie from gigi the swedish mafia leader. jan fakes passports for a living and she’s also about to marry a cop called jaida. it’s as chaotic as you’d think.

started but not posted:

amarrame: sort of prequel for in my head, we belong focused on jan and jaida and their relationship. i have literally one chapter beta-ed and ready to go but not a thing else

untitled alternative version of the hanahaki fic: in which gigi Actually Dies and crystal does get married. the meaning of happy ending is up for debate.

china: first installment of my perreoverse series, based off a scandal between two reggaeton powerhouses in which one of them was accused of cheating and a whole story line was created thanks to three songs, that in the end turned out to be fake.

tierra y sol: the fuck spain au! gigi is a criolla living in post-colonialism argentina and crystal a mulata. star crossed lover thingz ensue.

i’ll run to you: heidi/jaida in which they’re high school best friends and reunite after ten years bc jackie and nicky are getting married and they wanted to reunite The Gang. some background crygi is thrown there, with crystal being a single mom of a little boy and gigi as a useless lesbian that hasn’t had a date since college.

ideas that haunt me at 3 am that one day i plan on doing:

TOUCHDOWN (yes in all caps): an ode to straight high school rom coms in which the underdog girl somehow ends up dating the hot captain of the football team. nicky is the quarterback of the female team of american football and crystal is the bitchy cheerleader she dates. enter nerdy, unpopular girl jackie that nicky pins after they got paired together for some shit.

corpse bride au: based off solely on crystal’s black bride runway. gigi is the human and she’s the corpse. will they get the happily ever after unlike victor and emily? who knows!

exchange student au in which plastique is a vietnamese transfer and kimora takes her under her wing bc she’s the only other vietnamese kid. there are also a bunch of drag race thailand queens and asian queens are the overall focus. i sprinkled a brooke pinning after plastique there for the shit n giggles

a surfer au spin off focused solely on jaida and jan, and how their relationship developed in the year we never got to see because the writer was lazy

another surfer au spin off but with crystal and gigi and how they actually stopped fucking around and became girlfriends even with the long distance.

waitress au spin off with jackie and nicky being cute

greek gods au remastered with crygi

kidfic in which the s12 queens cause chaos and a daily mayhem. rock eats crayons and the others let her.

a songfic series with tove lo’s album queen of the clouds

on that note, a lesbian au songfic with timebomb in which crystal is getting married and goes on vacation with her friends over the summer and has a summer fling with gigi, in which they both know it’ll never be anything more because WE’RE NOT FOREVER, YOU’RE NOT THE ONEEEE

historic au with wongdoll (drag race thailand dearis and année) being part of some emperor’s harem and falling in love.

angel/demon au in which angels hunt demons and the demons are actually chill. the demons are the dragula girls and the angels are rpdr girls.

idk there’s probably more but these haunt me the most

#my fanfiction

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onestowatch · 5 years

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Listen To Dear Boy’s Bittersweet ‘The Strawberry EP’ a Day Ahead of Release [PREMIERE + Q&A]

Photo Credit : Casey Curry

California’s Dear Boy had an immense 2018; they were hailed as one of the best bands in Los Angeles by critics and music publications, sold out multiple hometown shows, embarked on a full US tour w/ Rogue Wave while also playing dates w/ Day Wave and Sunflower Bean—and there’s no signs of slowing down in 2019. On March 1, the nostalgic band will release The Strawberry EP (the third extended play of their career) into the world via the band's own label, Easy Hell and Burnside/The Orchard. Produced by Dear Boy, and mixed by Tony Hoffer (AIR, Phoenix, Beck, M83), the EP showcases the band's ability to craft bittersweet songs pulling from late 70's and early 80's post-punk and early 90's Britpop, large enough for arenas, but intimate enough to be with you during your most private moments.

The band’s wildly creative nature that has attracted not only a wildly devoted fan base, but the respect of fellow artists who have gone on to be collaborators. The Strawberry EP features appearances by their friends Day Wave, Hazel English, and Patrick Spurgeon of Rogue Wave. The four real life friends that make up Dear Boy (vocalist Ben Grey, guitarist Austin Hayman, drummer Keith Cooper, and bassist Lucy Lawrence) have made something that is deeply personal, while celebrating their city and challenging the direction of modern guitar music.

Ahead of The Strawberry EP’s worldwide release on March 1, we spoke to vocalist Ben Grey to break down the five-track collection, which you can listen to a day early exclusively here on Ones To Watch. Pre-order the album here.

OTW: Considering your previous releases, how would you consider The Strawberry EP to be a progression of your sound?

BG: I think The Strawberry EP is the closest we’ve come to sounding the way we’ve wanted to in our heads. The band’s sound has been described as “bittersweet” since day one, and while I think we really perfected the bitter in our early work, I don’t think we were able to get sweet until this EP. Melancholia is in our DNA… It’s just musically and thematically what we’re drawn to, but the dream was always to leave the listener and ourselves with feeling of hopefulness. I don’t think we fully figured out how to do that until now.

OTW: When were the songs for the EP written/recorded between, and how did you choose what 5 tracks would make it?

BG: Putting out an EP was definitely not the plan! We’ve been writing for a full length record, but we seem to keep stumbling into recording opportunities. With the exception of “Love Interest,” the EP was all recorded at our friend Clay Blair’s studio Boulevard Recording in Hollywood, in between legs of our tour with Rogue Wave. We would work these new songs out on the road for a few weeks and then come home to track them. That’s why I think they sound so immediate… They’re straight from stage to stereo. And to answer your other question, it wasn’t until Tony Hoffer sent us the final mix of Limelight, that we realized we had finished a collection. The songs had all coalesced so naturally and they truly did capture a moment in the band’s career.

I should also note that the current count of new Dear Boy songs is 35, so I don’t think it’ll be very long until we follow this up with something else.

OTW: Starting off the EP we have the single “Semester”— a song that you’ve previously described as being about “following the moment”. How has the response to the track been so far?

BG: I feel funny telling you that it’s been great, but it truly has been pretty great. If I’m being honest, I am RELIEVED. Whenever you’re in the process of working on something, it’s so small and private. It only belongs to you and you can’t even really imagine it existing in the real world. Any artist will tell you that this whole process is a cocktail of arrogance and earth shattering doubt, so I'm shook constantly. But the fact that Rodney Bingenheimer is playing "Semester" on the radio, our fans like it and my friends who I respect are still taking my calls, I’m finally going to concede that it’s going okay.

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OTW: The track is quite dreamy, though bittersweet lyrically. What came first: the music or the lyrics?

BG: The way it normally works with us is that the music & melody come first., but I’m always scribbling down stuff that gets a reaction out of me… The hope being that one day we’ll be able to marry the nonsense to a piece of music and have it no longer be nonsense.

I’ve used this expression before, but I feel like songwriting is pick-pocketing in the dark. That’s part of why it’s so exciting. "Semester," for example was just a word I had written down in the middle of the night 3 years ago… I had no idea what to do with it, zero context… I just knew that it made me feel something and it was my job to figure out why. It wasn’t until we started writing this particular music that it became clear, oh this song is “Semester,” and I think I know why.

OTW: I know that track was produced by the band w/ contributions from Jackson Phillips (Day Wave)—is this the only track on the record essentially self-produced? And what was it like working with Phillips?

BG: Jackson is incredible. We met last year when our bands did a West Coast tour together and became fast friends. Working with him on "Semester" and "Something Good" was inspiring. A lot of spontaneity goes into his work. The opening swelling noises in "Semester" are a mistake with the tape machine… It was a synth arpeggio sped up all crazy, and he quickly suggested we record it and have it flow throughout the entire song, which I think is partly why "Semester" has its dreamy atmosphere. Feels like exaggerating a memory… And on “Something Good,” Eleisha from Hazel English was hanging out with us in his studio and started humming something to herself during the bridge… Jackson asked her to record what she was doing and she graciously agreed… and now it’s my favorite moment of the song. He’s really good at disrupting your work in the way it needs to be disrupted. Ian Hultquist also produced “Love Interest” with us, but the rest of the record is DB.

OTW: Then we move on to “Limelight,” which seems to further romanticize the valued fleeting time with a lover through stylings that seem suited for youthful romance. What can you tell us about the track?

BG: “Limelight” actually started out this slow, moody ballad, so you’re definitely not wrong about those themes… But as soon as I played an early version for the band, it became clear that’s not what the song was meant to be… And that's what great bands do; they show you what you really mean. Keith, Austin and Lucy heard the song and instinctively knew what to do with it. I’m so thankful to be a part of a project that has such a confident sound and assured chemistry… My version of “Limelight” was small and limited, while Dear Boy’s interpretation was big and thrilling and cathartic. I didn’t realize that the lyrics belonged in a song like that, until I started singing them against this final arrangement.

OTW: Though it’s only the third song, by the time we get to “Something Good,” the EP has effectively avoided “sticking” to one definitive sound. Was it intentional for this EP to showcase your versatility as a band?

BG: I think we’re always chasing things that are exciting and expansive for us, but it wasn’t intentional. This song is the second in a trilogy of waltz’s for the band, (the third is a song called “Die”), but everything about the creation of “Something Good” was surprising to us.

OTW: And did you always know you wanted an acoustic track included? How did “Something Good” come to be?

BG: We didn’t! We actually had studio time booked to work on “Anything At All,” but Keith had the flu and couldn’t track drums... It was Austin’s idea to work it. I wrote “Something Good” with my friend April Bender and it was meant to live on an acoustic guitar, but didn’t really have a sonic identity beyond that. And maybe it’s my own personal bias, but I’m super over bands recording token acoustic songs for their albums, so it was important for us to take it somewhere unexpected. We threw everything we could at it; There are mountains of analog synths, distorted ebows, lap steel, a mille feuille of harmonies, down-tuned conversational elements… it’s very lush and I’m sure totally annoying for our mixer, Tony Hoffer. But it was important for it to not sound like anything else and after days of concentrated studio experimentation, we got this Americana Mazzy Star dark waltz thing. But most important, it sounds like our band and it opens up a lot of portals for us in the future.

OTW: “Anything At All” quickly picks the energy back up with an energizing guitar riff and an incredibly catchy hook. Talk to us about the track and is there a story behind the spoken outro?

BG: “Anything At All” is pure “band.” A song built around a guitar riff, leaning into all the things you want to hear as an audience member… But the lyrics, in Dear Boy fashion, stand in defiance of the major chords. It’s about despair and making the most out of your despair.

While tracking guitars, Austin and I would end our takes with excessive and unnecessary feedback, as one does… I can assure you that it was never meant to stay… but I dunno…one day while I was recording vocals, I just heard a little epilogue in my head… I wrote it down in 2 minutes, recorded it in one take and that was it. I didn’t expect it to stay in, let alone be audible… but the band liked it, Tony Hoffer liked it and I didn’t hate it. Admittedly, I don’t know how I could live without it now.

OTW: “Love Interest,” though the closing track, is probably the most pop-centric – evoking the pop-hook laced energy of 90’s college rock. What influenced the track?

BG: I remember that we were at Keith’s studio and somehow the guitar theme, which sounded like early R.E.M. meets Suede, willed itself into existence. The rest is fuzzy. But I do remember that I left that night with a crudely put together basic track of the music and then spent the following two months writing the lyrics. The song is, in part, about the clumsiness and optimism of love... the joy of being out of your depth. It’s a sentiment I really wanted to get right, so I obsessed over it. I still kinda want to change one or two things.

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OTW: Was it a conscious decision to end the EP with the eldest single from the set, seeing as it was initially released nearly a year ago?

BG: Not so much that it was the eldest, but more that it was the first song written in what we consider to be “The Strawberry Era.” And, really... the message. Like we discussed earlier, leaving the listener with hopefulness for the first time was something appealing to us.

OTW: And finally—why “Strawberry”?

BG: This sounds made up, but I had been dreaming about strawberries for the two weeks before recording “Love Interest.” Every night. The image of a skeleton performing the Hamlet soliloquy to a giant strawberry, dressing in clothes with strawberries sewn into them, running through strawberry rain drops... And because I NEVER remember my dreams, it seemed impossible for it to be coincidence. I don’t think I’m tuned into the will of the universe or anything like that, but I’m also not foolish enough to argue with it.

#dear boy #the strawberry #interview #indie #alternative

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spookyraman-blog · 7 years

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This is for author’s purposes, to anyone lurking. This first post is here to give myself an idea of all mediums I will consider covering.

Horror: Fiction meant to scare.

Movies

Behind the scenes/set trauma and paranormal action.

Coincidence or consequence?

Classic Horror movie critiques, reviews.

What makes a horror movie? Where do the stories come from?

What about remakes?

The “Jumpscare”

What defines the “horror” genre, the “thriller” genre, the “suspense” genre, etc.?

What makes a lasting impact on viewers?

Horror fans vs. Horror haters

the “based off of a true story” cliche

Movies based off of books

Gore

Gorehounds

What makes an antagonist? A protagonist?

Marketing in horror movies.

The classic “found footage” films and their history

Blair Witch

Horror movies in different cultures

Tim Burton?

James Wan

Weird movies

The Silence of the Lambs

Writing

Creepypasta

Horror novels, stories, books.

SCP

Urban legends of the world

Legendary horror stories birthed from the internet (i.e Slenderman, Bed time.)

What makes fiction writing scary?

Famous horror novelists (Stephen King, R.L stine)

Books turned to movies (was the original better?)

Short stories and their impact.

What makes writing scary? Compare to the other mediums, such as visual, physical, and musical horror.

The plot in horror books

characters in horror fiction

Banned horror books?

Books like Coraline

Dante’s Inferno

Video Games

Why are horror games so popular? (The basis of let’s plays, pretty much, pewdiepie got famous off of amnesia.)

What makes a horror game?

Fandom vs. Lore (Ex: FNAF)

Sequel games, trilogies, etc. compared to a one-off game.

Games like Outlast vs. Resident Evil (Run and hide vs. Shoot and Kill)

Isolation horror games (you’re “alone”)

Enemies in horror games,

The input of the player in horror games, and horror aspects based off of player involvement.

Plot in video games, how the player progresses through the story arc.

A successful horror game vs. An unsuccessful horror game.

Cultural Horror games, i.e American vs. Japanese, etc.

Marketing in horror games.