#Bowery Presents

[thebowerypresents]

TEMS – Radio City Music Hall – September 5, 2024

Deftly mixing Afrobeats and R&B, TEMS had already made a name for herself before the gifted Nigerian singer-songwriter and producer’s much-heralded debut LP, Born in the Wild, arrived back in June. Making her way through the North American leg of her world tour, TEMS sold out Radio City on Thursday night.

Photos courtesy of Sachyn Mital | www.sachynmital.com

[hypnoticandstrange]

2021 via Erina Uemura

[good--merits-accumulated]

OK, SEVERELY rambly post incoming but - Anderperry Stardust (2007)/ The Little White Horse AU, anyone?

Rundown: I think many of us are familiar with Stardust, originally a Neil Gaiman book but also a great film, starring Claire Danes as a falling star and That Guy Who Plays Daredevil as the lad who promises to bring her to the girl he's infatuated with. The Little White Horse is, to the best of my knowledge, more unknown, but equally very good (for sentimental reasons, I think of it much more highly than Stardust). Published in 1946 by Elizabeth Goudge, it tells the story of thirteen-year-old orphan Maria Merryweather, who moves to her cousin Sir Benjamin's Moonacre Manor in the West Country, where she finds a) a thriving cosy community and a long family history, b) the little white horse of the title, c) a longstanding family feud cutting off Moonacre from the sea, d) her imaginary best friend Robin, real and in the flesh, and e) some of the most deliciously-described food that has ever been or will be. It's a great book even past the rose-tinted glasses of my childhood. Go read it. (The one (1) marring is that you can't find a bloody edition that doesn't have a JK Terfling quote pasted onto the cover, because apparently it was one of her favourite books, but fuck OFF, I'm reclaiming it now. Thou shalt not keep the cosy low fantasy from me.)

Anyway even though I mention Stardust this isn't really part of the AU I have in my mind, except for the bit with the Star, because Todd as a main character who thinks he's a very forgettable bland boy-in-the-corner until he finds out he's a star is a great thought to me. Particulars on /how/ he's a star to be fleshed out later! (I only thought of this AU about two hours ago, lol.)

In my mind this is how it goes - nebulously Olden Times setting (TLWH is set in 1842, so perhaps then). Todd is around seventeen/eighteen and Geoff has just graduated from university, and gone off around Europe, accompanied by their parents. Months go by. Something happens - he's never given the liberty of knowing, but Geoff and their parents stay in Europe, and the townhouse in London is sold, and Todd is packed off to stay at a distant relative's - Keating, as it turns out. It's a blessing in disguise, because Todd is finally away from his family for the first time in his life and around people that appreciate him. He begins to bloom under this new care - but there are strange family secrets only now being revealed to him, and dark forces beyond the valley which threaten to disrupt the haven he's found...

The rest is very cosy fantasy, featuring Mr Perry as the local uptight vicar locking horns with Keating at every opportunity, Neil as his withdrawn but friendly son just longing for a rebellion, and more! (Read: Charlie is here and he is Outrageous as usual. Read also: Pitts as a sailor because I think he'd like it.) Right now I'm thinking of adding an equivalent of Monsieur Cocq de Noir for a villain (Mr Perry is NOT the villain), and Cameron can play a part there so I can give him a good redeeming! Here are a couple of extracts from TLWH to show the kind of mood/tone we're working with:

Thematically, I REALLY like the idea of Todd as a star because it allows me to work in a very fun trope, of "not of the rose but near the rose" - when a character perhaps is shy and a little quiet and reclusive, but inspires other people around them to brilliance and greatness. (Honestly I do think this kind of goes in with the film, where it's not just Keating's teaching but Todd's reaction to it and his presence that galvanise Neil to continue.) This ties in really well if Todd's a star and adds to the overall self-confidence journey - plus I was really thinking about the sun/moon motifs! They're very prominent in TLWH (Maria is a "moon" Merryweather and Robin is a very sunny boy), and I really want to implement them here with slight twists. I think of Todd as a sunny moon; yes he's warm and caring and cheerful but once you go a little closer it's more of a luminosity rather than a blaze, there's a coolness and quietness to him I like. You know, a quiet character doesn't always have to be quiet because there's something "wrong" with them, sometimes they're just like that. For Neil it's the opposite, he's a moony sun; under the thumb of his father he's polite and decorous and demure but somewhere under all of that there's a very loud and booming laugh and a healthy sort of ruddiness. I don't know, I just like sun/moon motifs!!!!!!!!!!

(On a more personal note: this AU, which I already love very much despite not having known very long, would be above all a careful love letter to the West Country. It's been lovely living around here almost all my life and by this time in September I'll be hopefully up very far north at uni, so I'm pre-emptively kind of :') about it. Mutuals who are at uni/college how on earth did you cope?)

[spacedace]

It’s been a busy day for Elle by the time she rounds the corner and sees the unattended Batmobile parked in the alley she usually cuts through to go home. But not so busy that she’s willing to ignore the prime opportunity that she’s just stumbled upon.

Bats in the Bowery is always something that gets people’s heckles up - this is Hood’s turf and the people that live there are just as territorial over that as their violent vigilante. Batman himself being in the Bowery might as well be a declaration of war. Sure, when the heavy hitters are out causing shit things are a bit more flexible, but even then the Bats are there with Red Hood. Obviously and clearly tolerated for the time being.

Elle would put good money on Hood not being in the loop that the big Bat himself is currently parked three blocks away from Crime Alley. Which means that the Batmobile, tucked away in the shadows and entirely unattended, is free game.

Fuck it, she decides. 

Jay had asked her and Danny about what kind of rings Jazz likes. He’s on all their emergency contact lists, and he’s offered to officially adopt her and Danny to lighten Jazz’s load a little. He’s put in the time to figure out how to incorporate ectoplasm into his amazing home cooked meals in such a way that it doesn’t cause the food to come back to life just so they can have something tasty and nutritious. 

He’s family.

Which means it’s only right that she honors his place as family, by following in his footsteps.

Even without any of the proper equipment for the job, it’s a lot easier for her to remove the tires than it had been for her soon-to-be brother-in-law all those years ago. All it takes is five minutes, some intangibility and some increased strength and she has a pile of tires wider than her body stacked up behind her. She doesn’t even get any grease on her in the process. It takes more effort to find a pencil in her blackhole of a backpack to write the note she leaves behind tucked under one of the windshield wipers.

Getting the tires home is another story but she eventually manages to scrounge up enough blob ghosts to help her haul them back with her unseen. The little dudes like a little mischief - and like Hood even more - and they need the exercise. She’s not sure exactly what she’s going to do with the tires when she gets home though. One is definitely going to Jay as a present, maybe she could get Skulker to help her mount it on a plaque like one of his hunting trophies? Other than that though, they’re largely just going to take up space in the apartment.

Bill would probably know a guy. Hell, Bill may even want in on the trophy idea as a gift for Hood, he’d been saying that the anniversary of the crime lord taking out Black Mask was coming up. Maybe she could get the goon to help her get the last two tires to a couple of the more fun rogues as gifts? Harley for sure would get a laugh out of it. Ivy would probably be upset over the ecological impact of the creation of the tire, but maybe she could sell the last one to Penguin?

-

Tim blinks at the stack of - very familiar - tires taking up the corner of the Nightingales’ living room. Elle has them arranged in an approximation of a throne with a couple of pillows set down so she can sit more comfortably as she lounges. She barely even glances up at them as Danny leads them inside, slurping at a bright green smoothie as she taps away on her phone.

Danny looks as thrown by the tableau as Tim is. It’s nice to see that Danny isn’t as totally immune to Elle’s shenanigans as he pretends. Though, it’s also mildly terrifying to consider his boyfriend’s little sister is capable of chaos that not even Danny “Danger Twink” Nightingale can come up with.

“Uh…what you got there, Elle?”

Elle, pointedly, takes a long, loud slurp from her smooth as she looks up to meet her brother’s gaze. “New family tradition.” She says, unblinking.

Danny stands there for a long moment before giving a final shrug. “Yeah, sure. Jay will get a kick out of it.”

Tim pulls his phone out and snaps some pictures. Danny is right, of course, Jason is going to love it. But so will everyone else in the group chat.

[thebibliophilevigilante]

When it comes to getting intel, there are several ways to go about it. One could ask politely, or ask the right questions to eventually draw information from their target. There is intimidation, threatening your target and demanding the information in exchange for remaining unharmed. Then there is incognito surveillance, appearing inconspicuous and melding in with one’s environment just listening and watching.

The current session was the latter.

A raven-haired man with a blanched tuft in his bangs kept his teal eyes trained on the book in his massive, calloused right hand. His left swirled his take-away cup absentmindedly. He was reading words, but they weren’t registering in his brain. His focus was more concentrated on the conversations around him, and what information he could gather before his next patrol.

The first three rules of real estate are location, location, location. Burnley Brewhouse definitely had that, especially for Jason Todd. It was conveniently placed right on the very edge of Burnley, practically at the juncture of where Crime Alley and The Bowery neighborhoods started (which were all Jason’s domain). By day, the neighborhood was full of regular citizens, students and tourists. By night, the whole area was crawling with denizens of the dark wheeling and dealing for their own personal gain and vices while putting others at risk.

Jason brought his cup to his mouth for a sip, his eyes flicking to the counter where two men with heavier builds were waiting for their order. One had a rough 5 o’clock shadow, the other a scraggly, unkempt blond beard, both wearing holy jeans and beat-up leather jackets. He recalled seeing them once during a patrol a couple of weeks prior, skulking around by the Freight Yards. They were definitely up to no good then, and could offer him decent information in the present. The barista handed both of them a take-away cup, and his eyes quickly glanced down to his book again, his peripherals watching as they meandered around to sit at a table caddy-corner from his in the back corner of the shop.

“Terry was telling me about that new candy order he has coming in,” 5 O’Clock muttered lowly to his friend. “Said it should get here overnight, and we can distribute to the stores first thing in the morning.”

Scraggles ran his nails over his beard as he listened. “Loaded with sugar? Y’know these kids can’t get enough of their sugar.”

“He said it was everything needed from the inventory list. He said he has his pal Molly coming in to help with the shipment too.”

There was a small pause before, “How many donuts did he get and where from?”

“11 for the crew. I think he said they’re from Declan’s over on 14th Street.”

Jason had to refrain from rolling his eyes. Those two idiots were blatantly discussing a drug drop in broad daylight just as if they were talking about a regular candy store shipment.

He switched the book to his right hand as he snagged a napkin from the holder and a pen from the table. He scribbled a note to himself, writing the characters’ names from his book, followed by “PG 11, DL 14.” He knew his own shorthand; the character names were to keep up appearances. “PG 11” would remind him the drop was scheduled for 11, and “DL 14” would remind him the ship would be at Dock Bay 14.

His attention went back to his book as he brought the pen to his lips, teeth nibbling on the retractable plunge as he appeared deep in thought. He was about to tune back into 5 O’Clock and Scraggly’s conversation when the cafe’s entry bell rung.

His eyes flitted to the door to assess the entrant, and he froze. A young brunette with piercing dark eyes was glancing around, looking for a place to perch herself no doubt. She was breathtaking, and certainly unlike any other person he had seen come in to Burnley’s. As she turned to the counter, he couldn’t help the large grin that danced over his face. First he got lucky with the tip-off. Would he be lucky enough for that gorgeous girl to sit anywhere within his vicinity?

@rpwiththelilflower

[make-friends-with-the-rats]

Extry! Here's 'Newsies' by Harry Haun (ca. 1992, New York Daily News)

transcription under the cut

---

Extry! Here's 'Newsies'

by Harry Haun, Daily News Staff Writer

NEWSIES. Cristian Bale, David Moscow. Directed by Kenny Ortega. At the Sutton. Running time 125 minutes. Rated PG.

IF FAGIN HAD BEEN A union man, the results would roughly resemble "Newsies," some diverting Disneyized song-and-dance about the famous New York City newsboys strike of 1899.

Again we have - in a very Oliveresque sort of way - a whole armada of scruffy ragamuffins kicking up their heels and clicking them amid their abounding squalor.

We weren't kidding about the song-and-dance you see. The music is by Alan Menken, who nine days ago picked up two Oscars for "Beauty and The Beast"; the lyrics are by Jack Feldman, and the dancing (not so dirty, this time) is from Kenny Ortega, who concentrates mainly on making his movie-directing debut while getting a choreographic assist from Peggy Holmes and William Holden Jr.

No contest, this. The songs win out. There are eight of 'em, all in Menken's pop-tune vernacular, and Ortega socks them along with exuberance, although it could be argued his sharp, angular movements aren't that appropriate for the situation - even a little laughable when reproduced on a large level (the waifs often seem wired and give every impression of going into a mass spasm).

Ortega is less lucky at moving the nonmusical passages. Scriptwriters Bob Tzudiker and Noni White play fast and loose with the facts of the case, grinding them into formula for easy digestion.

The bad guy is Joseph Pulitzer, more penny-pinching than his prizes suggest; rather than raise the price of his paper and risk losing readers to Hearst, he takes it out of the middle-boy, hitting his teen peddlers with the price hike.

The Fagin figure of these youths is not really older, just taller - but he does hail from a shady, hard-knocks past. Jack Kelly (né Francis Sullivan) tries to play Spartacus for the newskids without getting his picture in the paper, lest he be dragged back to juvenile jail. (Some chap in a black suit and dour disposition keeps popping up like an old-fashioned truant officer, putting a damper on rallies.)

All Jack wants is to be a cowboy, and, in slow moments, he croons longingly of "Santa Fe." To get there, he is forced by Pulitzer to eat crow in public and turn scab, but, when management goons start playing hardball, he returns to the barricades of the rebelling newsboys. The plot is vintage Bowery Boys.

Christian Bale, who has sprouting into a hulking Ethan Hawke clone since "Empire of the Sun," is a thoroughly presentable hero, as is David Moscow, the young Aidan Quinn lookalike who's his second-in-command. Gabriel Damon, leading the Brooklyn contingent into the fray, convinces as their tough-nut accompanist.

The adults are left with little better than bits to play. Robert Duvall is an amazing adversary as the warts-and-all Pulitzer, and Ann-Margaret gives the film a Florodora flourish, girlishly getting off a couple of music-hall turns.

The news about "Newsies," first and last, is that it makes harmony, not history - but that's enough to make an engaging, sprightly entertainment.

[midnight-drip]

folks, if I may present:

Our Jack Kelly's drawing from Just A Pretty Face. Jack is very talented, as you can see.

Katherine had a bunch of these from our different shows, and gave one to me, Medda, and the other two Bowery Brigade girls

[katealpha]

Art Comm by Zenny’s Club

Over an hour after Catwoman rescued Batman from the Steel Mill…

With Protocol 10 having been shut down, Selina knew it was safe to come out of hiding. After saving Batman from the rubble he was trapped under, she’d managed to get underground and wait for the sound of middle strikes and helicopters to cease. All the while whatever Ivy put inside of her belly was restless. Writhing and shaking. However when things got more quiet, the thing calmed down enough for Selina to take her hands off her stomach and get a move on.

Selina found it not too difficult to traverse the rooftops in her current condition. Despite having gained at least ten extra pounds, she felt as light as she could be, and jumping and swinging over gaps was little trouble. As she made her way through the Bowery and passed by the Ace Chemicals building, she spotted the bombed out Courthouse. Two-Face’s goons were still congregating out on the front patio despite all the present rubble. It brought to mind the money that she’d come for.

Despite Batman telling her to get to a hospital the second things died down, she found herself feeling stubborn. Despite feeling fat and bloated unlike anything she’d ever felt, it wasn’t so bad. Maybe it was Ivy’s pheromones clouding her, maybe being pregnant wasn’t as daunting as she previously thought it would be. It gave her something to ponder until she heard the sound of a crowd nearby.

Catwoman landed gently on a rooftop and with a slow stride, she made her way to the edge of the building, rubbing one of her claws hands behind her hip. Her back ached somewhat since this transformation of her body. Looking down past the curve of her bloated belly, she spied down upon the famous Monarch Theater. Outside were well over a dozen good. All of whom worked for the Joker. Standing among them was Harley Quinn, who was blubbering and shaking like a leaf. She was the kind of woman Selina found utterly pathetic, and she felt little pity for her loss. All that mattered to her was that Bruce was okay, and that Joker seemed to be gone for good. One less powerful psycho to worry about in Gotham.

As she was thinking about what a future without Joker would hold, a nearer future made itself known as a deep, ominous gurgle shook through her bloated belly. Her emerald gaze went down to her midriff, which visibly shifted with whatever it Ivy had pumped down her throat. An exasperated sigh left her lips as she let one hand rub across the leathery, now stretched surface of her suit. Selina felt like she should be more worried than she was. For all she knew, the thing inside could rip and tear its way out any any moment. It had grown fast enough, and certainly didn’t feel like a normal baby should. Not that Selina had much knowledge on pregnancy. Instinct told her to get it out of her as soon as possible. But said instinct was clouded by a combination of pheromones and Selina’s own desire to get her things from her apartment first.

With a shrug, Catwoman sighed and gave her bloated belly a gentle pat. “Okay, one last detour and then I’m getting us to Gotham General. I’ll need a change of clothes after all. Can’t show up all dressed up in leather.” She purred to her unborn offspring before turning and shuffling across the roof, set on heading back towards her apartment…

To be continued…

[tmbgareok]

JF: What's the next song, John?

JL: We got--uh let's see, where we at in the set--we got a song from our brand-new, brand-new...thingie...album...thing...

JF: Are we gonna introduce it or are we just gonna like, do the, like, cold, emotionally unavailable rock thing? And just start playing?

JL: I think it's the celebratory, you don't know what's coming, it's like a birthday present, you open the box, the song comes out.

JF: See, that's the way *you* think, John.

JL: But if you wanna think of it as a cold-hearted, emotionally unavailable--

JF: I *know* you, Linnell.

JL: Tell the people!

- Stage banter from Bowery Ballroom 2007/07/25

[scopophilic1997]

scopOphilic_micromessaging_806 - scopOphilic1997 presents a new micro-messaging series: small, subtle, and often unintentional messages we send and receive verbally and non-verbally.

Jean-Michel Basquiat's former studio on the Bowery - details.

[thebowerypresents]

Laura Jane Grace – Racket – March 9, 2024

A week into the new tour in support of her second solo album, the recently released Hole in My Head, Against Me! founder Laura Jane Grace was back in NYC on Saturday night for a sold-out show at Racket in the Meatpacking District.

Photos courtesy of Katie Dadarria | @dadarria

[mediocre-eternity]

Ah, friends. Yet again it is the season where I get a good eight hours to do whatever I need to do. The time of year where, despite the pleasant warmth, my mortal connections suffer, my social gathering spots close before the sun sets and there are no more spur of the moment Target and Ikea trips. The time of year where kindred are mostly left up to our own creative devices… we mostly end up on balconies and visiting each other.

I was invited to a party.

Some weeks ago I was intensely drawn to meet someone in the Bowery. Initially I was annoyed, because I didn’t feel like driving nor taking the subway and these types of the things are not something I’d typically ignore. The house was quiet, though. Benji was somewhere in the city on his own; Daniel was with Jesse. I decided to jump the rooftops.

The Edge was where I was being called to, which is a place I sometimes frequent alone and I wondered if it was coincidence that this was the location they asked to meet.

When I arrived, a young man was waiting in my favorite spot. He was leaning his body weight against the glass, forehead pressed to look as fully out onto the city below as he could, a position I often found myself in. The internal spark that I had finally reached him sparked and he turned to smile brightly at me. He was young, possibly as young as my mortal age and he didn’t stand much taller. His hair was a deep brown and fell to his chin, his face round and cheery, his fangs awkwardly big for his mouth which was already impossibly crowded by awful teeth.

“Armand!” He beamed when I said nothing. He appeared to me as if we were long standing friends. Immediately he was digging into his lovely wool tailored jacket. I still hadn’t spoke. “Right? Armand? Right? This is for you!” With that a card was presented to me.

“You called out for me for nights just for a greeting?” I asked, finally taking the little paper envelope from him. The package was navy and in gold ink my name was nicely written. The young man was staring.

“Oh, no, no!” His voice was just as bright as his demeanor; very friendly and British. “That was only part of it. My name’s Marshall. Marigold told me I better find you… And she wanted you to have that.” He nodded at the envelope I had already opened. Armand & Daniel, Jessica Reeves and Benjamin Mahmoud…

Marigold, you don’t have to be so formal. I thought to myself.

“I want to live here for a while, in New York.” Marshall continued. “Marigold was the first vampire I met here. She said ‘well then you better find Armand.’ I figured you were the oldest vampire in the city or something.”

I saved reading the rest of the letter until I saw Daniel again. It was one of Marigold’s yearly solstice gathering invitations. Usually they show up in the mail around this time. Maybe she tasked Marshall… a hazing perhaps? Honestly, if he had come to me first I might have done something similar… but Marigold wasn’t the type. She had shoved the invitations into his hand as he stood in her foyer, probably relieved that she didn’t have to do it herself.

“There is a very small group of us elders in New York. You’re delivering the invites?” Marshall nodded, as I had expected. “There are about five of us here, but I am the oldest out of that group. The city, however, belongs to one much more ancient.” I gave him her name and Marshall repeated this name, in shock that he didn’t see her invite in the pile of envelopes he was now frantically shuffling through. I laughed. “No she won’t be in there. She is rarely in the city. She trusts my decisions, though. And truly, I would not speak for the kindred who have always lived here.”

The young one was again silent and still.

“…and who would that be?” He piped, feeling suddenly like his Big Apple dreams might be melting under his feet. “This is so complicated.”

“Maybe twenty more vampires.” I grinned wide which made him swallow. This was fun, I liked Marshall.

“Oh.”

I stepped closer to him. Marshall was young, true, but I had taken from him that he was a Victorian. Who was still telling these fledglings that rules ended in annihilation? I figured we all dropped that after Akasha… I mean, there was a vote on it anyway.

Akasha. He had never laid eyes on her, but the fear with that name permeated a portion of his mind. And the annihilation part was mostly my fault, but he didn’t know that.

Taking what I wanted from his brain, I relaxed. “Marshall, you may live where-ever you want. Don’t encroach on anyone’s territory or human stock and you’ll be welcome. Have you met John? Roxanna?” The names of my closest constituents in the city outside of my own coven other than Marigold.

“Oh Roxanna found me and John hasn’t answered my calling.” I couldn’t help but laugh. This is exactly how I met those two. I explained how John wouldn’t and where to find him. Just a little quip back for all of the trouble John causes me.

(This particular vampire likes to not be bothered until he decides to find others in his own time. Serves him right for always calling me “Kid.”)

…

(I like John. I am not upset.)

Marshall accompanied me to a higher vantage point where I could point out where to find suitable havens, reminding him that this wasn’t Great Britain and, comparatively, we live much more free lives here, a fact that Marshall was excited about. His maker practically forced him to New York for this reason.

I asked how his maker protected him from Akasha. Marshall did not like how bluntly I had asked.

“Buried me six feet under. Maybe more. He dug and dug and threw me in and dug me back up in a month. I was lucky.” Marshall looked down from the great height and I noticed his pierced ears glimmering as his hair whipped in the air. Unusual. He looked sincerely at me. “Was it really all Lestat’s fault?”

I spent the rest of my time introducing him to the other four elders before returning to Daniel.

[brian-in-finance]

Thanks for the message, Anon. 😃

Yeah… no…

Here are screenshots from your link:

The “picture” screenshot was taken from an IFTA red carpet interview by Eric Roberts and India Sasha, recorded Live on TikTok.

IFTA was interviewing Best Supporting Actor - Drama nominee Emmett J. Scanlan (Kin), as the full image shows.

Brian’s post 21 April 2024

So tell me... why would a Scotsman, who hasn't been in any IFTA-nominated production, and isn't presenting nor receiving an IFTA Award, be standing in the interview area on the IFTA red carpet?

He wouldn’t. (And the actual “Scotsman” in attendance walked behind the interview area, alongside the building, and straight into it, as previously noted here.)

So who might the tall blond man in the blue circle ⬇️ standing behind India be? And what is the wee bit of orange in the orange oval behind Eric?

Could Blue Circle Man be part of Kneecap’s entourage?

It’s more likely he is. Kneecap was at the IFTAs, after all.

And why the balaclava? 😂

Remember… DJ Próvaí’s signature green-orange-white balaclava hangs backstage at Bowery Ballroom. He began wearing the disguise when the band was first taking off, and he was still employed as a teacher. "It didn't stop him from being thrown out of the school," says Móglaí Bap. Adds Mo Chara: "It was the worst-kept secret in Ireland." — Rolling Stone

[sophietv]

Hi, I'm relatively new to the whole Gaylor/Kaylor/LSK universe so I'm sorry if this is a silly ask! But I'm curious to hear your thoughts on theory of Kaylor "breaking up" in 2019/20 which potentially caused folklore/evermore (both albums contain some very heartbreaking songs and feel influenced by the reality of Taylor's life at the time) and then the rumour of William Bowery being Karlie? I don't buy the whole Joe being WB so then it leaves me wondering if Karlie is indeed WB where does the break up fit in, if at all?

Also just wanted to say thank you so much for all the analysis posts and threads you do both on here and Twitter! Appreciate it very much!

Hi!

This is not a silly question at all!

In fact it is exactly THE Kaylor question of all.

And to answer this questions is really complex, because there's just soooo much.

I'm so sorry, because this is gonna be a VERY long answer...

About the "Breakup"

I personnally go back and forth as to know if they really broke up or not in 2019.

Either way, it was not for long. I think max a couple of weeks/months.

It's really difficult too, to point out exactly where this would have happened.

But if I have to guess, I would say that they might have broken up/taken a break, toward the month of August 2019 and most probably got back together toward Octobre/Novembre 2019.

What makes me think that?

Taylor when she explains the song Betty during the concert. When she points out where the event happened, she always say during the month of August.

The song August, from the teenage love triangle. The fact that she chose to name the song this. Betty is Karlie and James is Taylor. August is what happened that is "the worst thing that I ever did, is what I did to you".

In Septembre 2019, Taylor did the BBC1 performance and the Lover In Paris Concert. Both were really a shift in the Lover Era aesthetic and presentation. She wore all black, sung mostly accoustic versions, surprise songs and covers were break up songs and she looked devastated while doing this.

What makes me think they got back together then:

Back in Novembre, Taylor sarted flagging Karlie heavily again, and Karlie did the same. And honnestly, once you notice everything they did since then, it's really the only proof you need. (I will do, or try to do an extensive post on all the flagging that went on after the Lover Era, because there's just so much. (Hopefully I'll have time to do it tonight).

In the teenage love triangle, the most important part is that in the end, in Cardigan, James goes back to Betty and they end up together.

Betty is not the only song that Taylor did about that precise moment. Talking about "betraying" Karlie in some way. Long Story Short also talks about this. And ends up with Taylor going back to the person that she "betrayed".

In a Fearless (Taylor's Version) interview, Taylor talks about how her Vault Track songs haven't changed much since the moment she wrote them. Except for That's When, where she said that she changed it to be a duo. Because before she never experienced having doubt about a relationship and saying to the other person that she needed space and time and that the other person granted her this. She said that the other person saying that it's ok and being willing to give her time and space to figure herself out is what made her realise that she really wanted to be with that person. I think that this interview is SO important to all the LSK interpretation afterward. Here's the link to that interview:

5. Then you also have The Great War that is like the ultimate confirmation that whatever happened back in 2019 is behind them and that they are together now.

Here's a post I did about this: (X)

But yeah, I think the most important part of all this, is the flagging that they did and keep doing. It's just insane how much they both flags each other and at this point there's just too much Koincidences to pretend tha it's accidental.

About Folklore and Evermore:

You are totally right when you say that both those albums are incredibly sad with a lot of hearbreaking songs.

And it's true that at first, it's really hard to listen to them and not think that they broke up for sure.

But when you sit with them for a bit and listen to what Taylor had to say about the songs in those albums. Especially during the Long Pond Studio Session, you realise that yes those albums are incredibly sad and talk about betrayal, grief, depression etc. But the story that Folklore and Evermore tell is not a story about a breakup. And to understand that, it's important to take into consideration that during that time, Taylor was going though soooo much. More than anyone should go through in their entire life. And it was more than enough, without a breakup on top, for her to be heartbroken like she seemed to be during those eras:

Wanting to come out and not being able to.

Being accused of queerbaiting by the medias because you wanted to come out and was not able to. (It really looked at some point like going back to 2016...)

Being betrayed by someone that you thought was a parental figure.

Losing 13 years of hard work, and not being able anymore to do what you want with things that YOU made.

Having your tour cancelled.

Covid and not knowing if you'll ever be able to do what you love again.

Her mother's heath.

So yeah... this was sooo much and she showed so much resillience and strenght. But I think it was more than enough to warrant looking heartbroken like she did and writting heartbreak albums. Without on top of it all, breaking up with the love of her life (wich might have happened too during a small period of time...).

I will try really hard to not do a whole album analysis here, but just point out some things, because if I do, my post is never gonna end... (edit: I failed...kind of)

Folklore:

Betty, August and Cardigan:

Like I said before, this trio tells a story of making a mistake and breaking someone's heart while doing so. But ultimately coming back to the person.

Exile:

Taylor said that this was meant to represent a fight between two lovers that were not able to just listen to the other person. They are both trying to explain themselves but both are talking over each other and in the end are not able to find common ground.

(something like that, it's been a while since I've watched the LPSS)

And this narrative fits really well with The Great War, Long Story Short and even Betty, misscommunication that led her to believe that she was somewhat betrayed and to react accordingly.

But all those songs have also in common that the two persons end up together in the end.

Illicit Affairs:

The general concensus on this song is that it is about cheating.

But the meaning of the word Illicit Affair is actually: Not allowed by law OR CUSTOMS in a country.

So I think this song is her expressing how keeping her relationship a secret is hard and taxing on her.

But she still ends up the song saying that she would still do it a million times over for this person.

Hoax:

I think this one is the most important to listen closely to Taylor's and Aaron's explanations:

Aaron:

"There’s sadness, but it’s a kind of hopeful sadness. It’s a recognition that you take on the burden of your partners, your loved ones, and their ups and downs. That’s both “peace” and “hoax” to me That’s part of how I feel about those songs because I think that’s life. There’s a reality, the gravity or an understanding of the human condition.

Taylor:

"Love that isn't just easy"

"What if I'm writing about very fractured situations? Love, a business thing that really hurt and a relationship I considered like family" " I think the part that sounds like love to me is : "Don't want no other shade of blue but you, no other sadness in the world would do" To me that sounds like what love really IS. WHO would you be sad WITH? And WHO would you deal WITH when they were sad? Grey skies everyday for months. Would you still stay?

So Taylor is saying that Hoax is not about a breakup but about facing hard times in a relationship and being there for the other, when the person is not in a good place mentally. This ties back to This Is Me Trying too.

Peace:

Taylor explained it well in the LPSS but also in her Rolling Stone interview with Paul McCartney.

How it's about being in relationship and being scared that what you have to offer is not enough because you can't give your partner a normal life like you would like.

But she also say that she's able to achieve feeling like her life is a real life by keeping her relationship private.

She also said in that interview that while writting Folklore: "I was making Folklore, I went lyrically in a total direction of escapism and romanticism. And I wrote songs imagining I was, like, a pioneer woman in a forbidden love affair [laughs]. I was completely …"

Wich is the exact definition of their relationship since 2016.

See my Love Blackout post: (X)

I highly recommend to go read that interview, especially that part about Peace, because it's really telling. As well as the conversation they have about having children... (X)

Invisible String:

This is purely a love song.

And talks about how Taylor and Karlie had so many things tying them together even when they didn't even knew each other.

It ties back to "Your past and mine are parallel lines" from All Of The Girls.

And there's A LOT of parallel lines.

Here's a post if you are interested: (X)

The Lakes:

This one is probably the most telling song of the Album.

It talks about running away with your lover.

And in the song she says: "a red rose grew up, out of ice frozen ground with no one around to tweet it".

Red Rose signify love.

So she is singing about her struggle with how her celebrity makes everything complicated and all that she wants to do is run away... but not without her muse.

And it's really loudly about Karlie. Here's a post (X)

My Tears Ricochet:

This one to me screams about a betrayal by a parental figure.

And I feel like it's really loudly about Scott.

"'Cause when I'd fight you used to tell me I was brave"

"And when you can't sleep at night, you hear my stolen lullabies"

"Wishing I'd stay"

"And your tossing out blame, drunk on this pain, crossing out the good years"

So yeah, it really feels like her talking to Scott about him selling her masters to Scooter.

Although her explanation of the song is that it's like going through a divorce and knowing exactly what to say to the other person to hurt them badly.

But it still really feels to me, like she is talking about Scot.

About being betrayed by your boss that you thought was family.

Ok that was a looong analysis. Again sorry, my post is gonna be a whole novel...

Evermore:

Champagne Problems and Coney Island:

She is still talking about feeling like she let down Karlie by being unable to put her first. Wich can lead back to whatever happened toward August in 2019.

Long Story Short:

It's the equivalent of The Great War of Midnights or the teenage love triangle of Folklore.

Going through a though time and thinking that you have somewhat been betrayed.

Being blinded by your emotions.

And realising that you got it wrong all along.

And ending up with your lover in the end.

Willow, Ivy and Dorothea are all love songs.

Evermore:

Is reminescing on what happened in 2019 and how over time she healed from it.

And the important part is that by the end you learn that her lover was by her and helped her through it.

Closure, Hapiness and Gold Rush:

Those ones are breakup songs, and could refer to the breakup in 2019. (although the 7 years in heaven in Hapiness doesn't quite fit).

But the interesting part about Evermore is that I think it was meant to give you the impression that they were not together anymore.

It was released when Karlie was pregnant with Levi.

Furthermore, It's Time To Go and Right Where You Left Me where released in January 2021 not long before Karlie gave birth.

And those song sserved as a big distraction because it got most Swifties to really think that Karlie betrayed Taylor and that they were not friends anymore.

And most gaylors to think that Karlie really broke Taylor's heart. Wich is kind of interesting when you look at all the other breakup songs beside Right Where You Left Me, Taylor seems to always feel responsible for the breakup and hurting Karlie. Except this one. But it's also the most clear breakup song of all of them.

So yeah, I do suspect that the album and mostly the deluxe version was meant to serve as a distraction to protect them and their child, and give Taylor the opportunity to really try to give Karlie a "normal" relationship out of the public eyes like she described in Peace.

Karlie as William Bowery:

Yes I do think that Karlie is William Bowery and I did a thread on Twitter about this (X)

So yeah.... here's my very very long post about why I think Karlie and Taylor are still together and what I think of Folkmore.

Sorry for the novel 😅

Thanks for sending me your questions! I hope I was able to help you understand a little bit better.

If you haven't had enough yet of me talking about my interpretations... Here's some more posts I did about them flagging after 2019 (X) (X) (X) (X)(X)

And those two are more about the babies: (X) (X)

[eternal--returned]

Seven months or so after Rothko concluded his second European sojourn, which included four weeks in Rome, the Houston-based art patrons John and Dominique de Menil paid Rothko the first of what would be many visits. In February 1960, the couple met him at his Bowery studio to see the paintings he had intended for the Four Seasons restaurant in the newly completed Seagram building, an edifice designed by Mies van der Rohe and Philip Johnson to present high modernist architecture in terms of maximally luxurious effects. Within weeks of returning from Europe, Rothko had withdrawn his paintings from their originally intended destination in that environment of princely splendor and conspicuous consumption. This act of principled renunciation impressed the de Menils, who were also captivated by the Seagram canvases themselves; later, Dominique de Menil would remember, 'They made for an extraordinary mystical environment, a mix of intimacy and transcendence that can be found in certain churches, certain mosques'. Two days after their first visit, the de Menils returned to Rothko's studio to propose acquiring the canvases for a future Catholic chapel to be built on the campus of the University of St Thomas in Houston, an institution they served as prime benefactors. But both the artist and his prospective patrons agreed that the significance of the undertaking would require freshly conceived art. And there the idea rested for another four years.

Thomas Crow ֍ "Illuminations Past and Present in the Painting of Mark Rothko." Toward Clarity (2019)

Rothko Chapel, Houston, Texas

[layce2015]

John Wick Chapter 4 (John Wick x Female!Reader)

Chapter 3: Ruska Roma

First Chapter

JW4 Masterlist

John and (y/n) make their way to the subway and get inside. They go and sit down on the seats and John pulls out the pin badge he grabbed. "What is that?" (Y/n) asked him. He looks over at her and was about to reply when he sees Akira staggering in, holding her bleeding side. John and (y/n) stand up and they realize Shimazu wasn't with her and judging by the look on her face, he didn't make it.

"Who is he?" Akira asked John as she walks over to them, the train starting to move. "He was a friend." John said and Akira glares at John. "My father is dead because of you and her. Because of what you did." Akira said as she walks closer to the couple. "So either you kill him...or I will." She said. "I understand." John said and they share a look and Akira sighs then turns.

"Do you need..?" (Y/n) asked her but she shakes her head as she goes to the door of the train. The train stops and the door opens. "Goodbye, Mr and Mrs Wick." She said and she walks out of the train and the door shuts behind her.

It had been a couple of days since John and (y/n) had returned from Japan. (Y/n) was sitting on the bed her and John slept on in this hideout The Bowery King offered to them. She looks down at the bracelet that Helen gave her for her 16th birthday. She runs her fingers over the charms until she lands on the daisy charm.

Her eyes fill with tears as she remembers when she opened the present to see this bracelet. She remembers the excited smile that Helen had and how she asked (y/n) what she thought about. 

Flashback

"Hmm...I don't know. I think there's a missing charm." (Y/n) said and Helen gives a worried look. "What?! No, no, no..." she said and she looks at the bracelet, only to see it was fine. "You." She grumbles and she shoves (y/n)'s shoulder, making (y/n) laugh. "Sorry, Helen. Couldn't help it." (Y/n) laughs and Helen rolls her eyes.

​​​​​"Don't do that! Almost had an heartattack!" Helen said. (Y/n) smiles and looks down at the bracelet. "Thanks, Helen. I love it!" (Y/n) said and Helen smiles. "I figured you would. I know in a couple of months I'm gonna be gone to college and I'll be away from you. So, I thought...well, it might be cheesy but...I thought that whenever you feel sad or scared, always look at this bracelet and know that I'll always be with you, even when I'm not." She said.

(Y/n) smiles then laughs a little. "You're right. That is cheesy." (Y/n) said and Helen rolls her eyes again. "Last time I get you a present." Helen laughs, sarcastically, and (y/n) laughs with her.

Present Day

The sound of the door opening pulls her out of her memories and she looks up to see John walking in. "Hey." He said. "Hey." She greets, softly. "We, uh...we need to go. Winston has asked to see us." John tells her and she nods. "Okay..." (y/n) said as she puts her bracelet away and stands up and The Bowery King comes up.

"He said to meet him at the memorial park." The Bowery King said and (y/n) nods then looks at John. "You think we have time to make a quick stop?" (Y/n) asked him and John looks at her then nods at this.

Later, John and (y/n), who was holding one white rose, walk along the snowy grounds of the memorial park while Winston lights a candle for Charon, who had a plaque on the memorial wall. The couple come upon Winston, who had his back to them as he looks at the plaque. 

"Winston." John greets. "Johnathan. (Y/n)" Winston said, still not looking at them. "Our condolences." (Y/n) said, apologetically. "He was a good man." John said. "Yes, he was." Winston said and he turns to face them. "Taken for our sins." He said and John looks down then he steps forward, pulling the pin badge out of his coat pocket.

"Who is this?" John asked Winston as he holds up the badge. "The Marquis de Gramont. Elevated only by his guarantee of killing you. All the resources of the Table are at his disposal." Winston said. "Where do we find him?" John asked him. "Paris." Winston replied and John nods, slightly, and he pockets the badge while (y/n) walks over to Charon's plaque.

She gets right up on it then places the white rose on the ledge then gives a slight prayer for Charon. She didn't know him very well but the little time she spent with him, he was very kind.

"Where will it end?" Winston asked and (y/n) turns around as John comes up to her. "With him dead." John said as he turns to face Winston. "Oh. And then?" Winston asked, condensindingly. John stares at him then back at his wife.

"Have you learned nothing? They will replace him before the body's cold. Hercules had his Hydra. You have The Table except you'll run out of bullets before they run out of heads." Winston said as he walks up to them. "Kill him, but do it the smart way. And get him to give you your freedom." Winston tells him.

"How?" John asked him. "Turn his rules and consequences against him. Challenge him to single combat." Winston said and John gives him a confused look as (y/n) looks between them. "High Table duels are a myth." John said. "Wrong! They're a cold hard fact, and part of the foundation of The Table to stop its more combustible members from outright war. It's also, win or lose, what you say you want, a way out." Winston explains.

"I don't sit at The Table." John said, shaking his head. "Your family does. Get them to issue the challenge and then offer you up as proxy." Winston said. "I don't have a family. The Ruska Roma tore my ticket. She's my only family." John said as he gestures to (y/n). "Then I suggest you get your ass to Berlin and get it mended. Or...pick a plot." Winston said and he turns and walks away. 

"What do you get out of this, Winston?" (Y/n) asked him, curiously, and he stops and turns to them again. "What your husband is so good at getting, Mrs Wick. Revenge." Winston said and he walks away, leaving the couple behind.

A couple of days later, John and (y/n) were walking along the streets of Berlin. (Y/n) looked around and was enjoying the sites, even though where they were going was very important. 

"Kinda sad that we can't take our time." She said and John turns to her. "The sites here are very pretty. Wouldn't mind spending a day or two here." She said and John looks down then back at her. "Maybe one day. When this is all done." He says and she raises her head to look up at him for a moment then smiles. "I'm holding you to that." She said and John smiles at her while she takes his hand in hers as they continue to walk along.

They make their way under a bridge and walk up to a doorway with a symbol that looked like a cross adorn above it. They walk up to the door while across the road, Mr Nobody walks out then pulls his book of information out and looks at it.

John and (y/n) enter the building to see a woman sitting nearby, holding a basket. She holds it out to them as they walk up to her and they start to pull out their guns and weapons. "Cool revolver...Vintage." the woman said as they place their weapons inside.

"Everything?" She asked and they nod and she gestures for them to continue. John and (y/n) walk down the aisle as there were several people at the pews, sitting and praying until they noticed the couple walking. The people raised their heads to look at the newcomers as John and (y/n) come upon the priest that was standing at the chapel.

"Father..." John said. "Yes, my son." the priest said and he raises his head. "I need to speak to Uncle Pyotr." John said just as the priest pulls out a shotgun. (Y/n) lets out a squeal and John grabs her then shields her as the priest fires his gun, making the couple fly back and land on the ground with an ​​oof.

"Nice suit." The priest said as he walks up to the couple and a couple of men grab John while another man grabs (y/n).

Later, John wakes up to see he is in a circular room, surrounded by other members of the Ruska. Two of them had a hold of (y/n), who was struggling in their grip and looked beyond terrified. "John!" She cried as he realized that he was hanging by noose around his neck, sitting in a chair and his hands bound together by rope.

Then a woman and three priest stand before him. "The prodigal son returns..." the woman said and a man behind John moves the crank, making it jerk John up a few inches. "But this isn't your home anymore, is it...Johnathan Wick?" The woman asked. ​​​"You grew up, Katia." John tells her. "And you got old. Then again, it's been awhile." Katia said.

"I need to talk to him." John said and Katia glares at him then nods to the man by the crank and he moves it, making John go up to where it looks like he was standing. (Y/n) struggles again against the men's grip but they hold onto her.

"You are forgetting we are still under The Table. And last I checked, you are Excommunicado and your ticket was torn. You have no business with us.​​​​" Katia said and she nods again and John was lifted up a few more inches. "Stop, please!" (Y/n) pleads but then she was punched in the gut. "That's for Pyotr to decide." John said, struggling with the rope getting tighter and tighter around his neck. 

"Pyotr is dead!" Katia shouts, angrily, and John looks down at the floor. "After you put a bullet in The Elder's head, the Marquis had one put in Pyotr's. And in fine Russian tradition, he sent us the bill." Katia said as she walks up to John, chuckling. "Because of you, I had to kneel in front of the man who murdered my father." She tells him. "Then we have a common enemy. We can help each other." John pleads to her.

"You can't even help yourself or your little woman over there." Katia said as she gestures over to (y/n). "How the hell are you going to help us?" She asked him. "By killing this Marquis." John replied. "They just appoint another. His death changes NOTHING." Katia said and she walks away and the man uses the crank again and John goes up a couple more inches.

"It does if he kills him in a duel!" (Y/n) shouts, hoping that'll make this woman to stop killing John. Katia stops and looks over at (y/n), for a moment, then over to the priest. One of them walks over to her and leans in to whisper. "The Old Ways are clear on the matter...but for a duel to be sanctioned by The Table...he would need to be a member of a family...and have a Crest." 

Katia rolls her eyes then turns to look around the room then at John then over to (y/n). "How many did you kill to get out?" Katia asked John. "A lot." John replied, still struggling with the rope pulling at his neck. "You will only have to kill one to get back in. The bastard who murdered my father." She said and (y/n) gasped then looks over at John. "Give me the name." John said.

"Killa Harkan. You will find him at Himmel and Hölle. When he's dead, I will mend your ticket." Katia said. "And the Crest?" John asked her. "Harkan first, then we talk. Bring proof of death." Katia said and she gestures with her hand and the man releases the crank and John falls to the ground.

"John!" (Y/n) said, concerned, as the men let her go and she runs over to him. "You okay?" She asked him, in a whisper, and he nods before he turns to Katia. "I'll need a way in." John said and two men came up to John, picked him up and placed him on the chair. "I know a way. Klaus will take you." Katia said and an older man with tattoos over his face, lip piercings and a gray beard with long slicked back hair comes up to John and (y/n).

"I am Klaus." Klaus said and he hits John across the face with his cane. (Y/n) yelps in fear as John recoils from the impact then looks up at Klaus. "John." He greets. "I am Klaus." Klaus said again before he strikes John across the face again. "Stop it!" (Y/n) shouts at Klaus before he turns to her. "I am Klaus." He said again and he hits her across the face with his cane.