#Ella (Voice Carries the Music)

[mewnia]

participating in MerMay this month with my OC’s :3 First is my girl Ella!

[ilovemilestellersmoustache]

Country Boy’s Dream Girl

Jake Seresin x Reader

WC: 2K

Summary: Jake meets an old friend at the bar while visiting his family in Texas

Jake "Hangman" Seresin sat back in his worn leather chair, the cool breeze from the open window brushing against his skin as he stared at the familiar yet distant skyline of San Diego. The golden hour light filtered through the palm trees outside, casting long shadows over the simple furnishings of his rental home. The city’s endless sunshine and soft waves, which had once seemed idyllic, now felt like a constant reminder of something missing. The rhythmic crash of the ocean against the shore, the warm breeze carrying the scent of salt, all of it should have been comforting, but lately, it only amplified the restlessness simmering within him.

His gaze drifted over the distant horizon, but his thoughts were elsewhere—somewhere filled with rolling hills and wide-open skies. Austin, Texas. That’s where his heart kept pulling him. San Diego, with its picture-perfect beaches, had served him well, but it never felt like home. Home was where the dusty trails stretched out beneath his boots, where the heat wrapped around you like a blanket, and the sound of cicadas filled the evening air. It was where the people knew you, really knew you, not just your call sign. It had been months since the Dagger Squad's last mission, and though the Navy had served as a distraction something in him felt restless. San Diego was nice but it wasn’t home. Home was Texas.

His phone buzzed on the wooden table beside him, pulling him from his thoughts. He glanced down, the screen lighting up with a message from his sister: "Can’t wait to see you! The kids have been asking about Uncle Jake nonstop."

Jake’s lips curled into a smile, soft but genuine. He loved his sisters and their families, loved the rowdy chaos of his nieces and nephews whenever he visited. They always made him feel grounded, like no matter how high he flew or how fast he lived, they would always be his soft landing. And now, after months of jet-setting and the endless pace of military life, he was more than ready to touch down for a while.

The Navy had given him the excitement and adrenaline he craved, flying high above the clouds, pushing the limits of speed and skill. But even in the thrill of flight, there was always the need for a safe landing—a place to return to. For Jake, that place had always been Austin. After months of deployments and the constant go-go-go of military life, the thought of heading home to his roots felt like a breath of fresh air.

Jake’s flight touched down at Austin-Bergstrom Airport late in the afternoon. The moment he stepped off the plane, the thick humidity greeted him like an old friend. The heat clung to his skin, not oppressively, but with a warmth that felt familiar, grounding. As he made his way through the terminal, the sounds of Austin wrapped around him—the twang of country music playing softly in the background, the faint drawl in people’s voices. It all felt like slipping into a favorite pair of boots, worn in and perfectly molded to fit.

His parents were waiting for him just past security, their faces lighting up as soon as they saw him. His mother wrapped him in a tight hug, the smell of her familiar perfume tugging at memories of childhood, while his father clapped him on the shoulder, his grip firm, reassuring.

As they drove home, the landscape of Texas unfolded around them—endless fields of wildflowers, the horizon stretching out beneath a brilliant blue sky. They talked about everything and nothing, the conversation easy, the silence between them filled with the comfort of people who didn’t need to fill every space with words.

"Y’all planning on going out tonight?" his dad asked, his eyes cutting over from the driver’s seat with a knowing smirk.

Jake’s mother chuckled softly, her eyes twinkling with the same mischief she had always had. "You know his old friends won’t let him stay in on a Friday night."

Jake grinned, a flood of memories rushing back—nights spent at the local bar, a spot they’d practically lived in during their teenage years. The steady beat of country music in the background, the clink of beer bottles, and the easy banter between friends. His high school buddies, the ones who had stayed in Austin and the ones who had left but always came back, were more than just friends—they were family, just like Austin was more than a place; it was home.

"You know me," Jake said, his grin widening. "Can’t say no to a good ol’ night out with the guys."

By the time he arrived at the bar that evening, the sky had darkened into a deep, inky blue, the stars twinkling above like old friends. The neon lights outside the bar flickered, casting a colorful glow over the parking lot filled with trucks. The familiar hum of country music drifted out from inside, mixing with the scent of barbecue from the joint next door. As Jake stepped inside, the sights and sounds hit him all at once—the twang of a guitar, the hum of voices, the scent of spilled beer and whiskey mingling with worn leather and sweat.

The bar was filled with familiar faces, people he hadn’t seen in years but who greeted him like no time had passed at all. But amidst the laughter and catching up, his eyes landed on one person who made the world around him seem to slow down.

Y/N stood near the bar, her laughter carrying over the crowd as she tossed her head back, the kind of laugh that turned heads. She looked every bit like the girl he remembered but with something more, something that drew him in like a magnet. Her long, sun-kissed hair cascaded down her back, her low-rise denim shorts showing off tanned, toned legs. She wore worn-in cowboy boots and a tank top that fit her perfectly, effortlessly blending casual with a kind of understated allure.

Jake couldn’t look away.

Jake had always remembered her as the wild, untamed spirit from high school—the girl who could be the life of the party one moment and disappear into the Texas wilderness the next. She was known as the princess of the school coming from a prim and proper family, the epitome of a southern belle Y/N was. Till her family looked away then Y/N wasn’t just a pretty face anymore; She wasn’t like the other girls who strutted around in heels and short skirts, playing the part of arm candy for boys who didn’t care about anything but looks. She was the kind of girl who could drive a four-wheeler through an old red road, cranking Curtis Loew, line dance until the sun came up, bonfires out in the fields and tailgates. If that was what anyone was looking for they wouldn’t have too look any further. She’d always had a wild side that set her apart, a fire that made her untouchable to anyone who couldnt match her energy. One that attracted attention but also scared off anyone who wasn’t up for the ride.

And Jake? Jake was up for it.

As he watched her now, twirling on the dance floor with her friends, her cowboy boots scuffing the wooden floor as she moved to the beat. She was all energy. Jake felt something stir deep in his chest. She was untamed, all energy and movement, a force of nature that was impossible to ignore. When she grabbed the mic for karaoke and belted out an old country tune, the crowd cheered her on, her voice unpolished but full of heart. She commanded the room without even trying. She wasn’t perfect, but she didn’t need to be. She was magnetic.

Jake realized he’d been staring at her all night, and for the first time he felt nervous. He’d flown high-speed jets, faced impossible odds, but this—walking up to Y/N after all these years—felt like a leap into the unknown.

Finally, after another round of drinks and a deep breath, he stood, squaring his shoulders. Come on, Seresin. He told himself. It’s just Y/N.

her eyes met his, that slow, easy smile spreading across her lips, Jake knew this wasn’t just a casual encounter. This was something more.

As he approached her, she caught his eye and smiled, the kind of smile that could stop traffic. “Well, if it isn’t Jake Seresin,” she said, her voice a mix of surprise and amusement. “Been a while, hasn’t it?”

Jake grinned. “Yeah, it has. You look good, Y/N. Still stealing the spotlight, I see.”

She laughed, tossing her hair over her shoulder. “Oh, you know me. Can’t help it. What brings you back to Austin? Thought you were too busy saving the world these days.”

Jake shrugged. “Home’s always home. Figured I’d come back for a few weeks, see the family. And it’s good to see you too.”

Jake chuckled, trying to play it cool as he leaned in closer, resting his elbow on the bar beside her. “Can’t stay away from Texas too long. It’s in my blood, you know that.” His eyes lingered on her a moment longer than necessary. “Besides, I had to see if Austin was still the same.”

Y/N raised an eyebrow, tilting her head just slightly. “Still the same? You think Austin’s the only thing that’s changed, Jake?”

Her words hung between them, the weight of their shared history filling the space. Back in high school, Jake had been the golden boy—the one who everyone thought would soar higher than anyone. He had, of course. But in doing so, he’d left everything behind, including the people who knew him before he was “Hangman.” And Y/N, with her rebellious streak and free spirit, had been the one he never quite figured out how to speak to.

“Guess I’m here to find out,” he said, his voice softer now, more serious as he met her gaze head-on. “What about you? Still causing trouble wherever you go?”

Y/N laughed, the sound rich and full of life. “Trouble follows me, Jake. You should know that by now.”

The banter was easy, familiar, but beneath it all was an undercurrent of something deeper. They’d always had that between them—an unspoken connection that neither had fully explored. Back then, life had been all about fast cars, late nights, and chasing whatever adventure they could find. But now, as adults, the stakes felt different.

Y/N’s eyes sparkled. “Well, it’s good to see you too, Jake.” She took a sip of her drink, then set it down. “You wanna dance? Or are you just gonna stand there looking pretty?”

Jake laughed, feeling the last of his nerves dissolve. “I thought you’d never ask.”

Y/N hesitated for only a split second before placing her hand in his. “Alright, Seresin,” she said, a teasing edge in her voice, “but don’t think you can keep up just because you can fly a jet.”

The two of them moved out onto the dance floor, the familiar beat of a George Strait song playing in the background. Jake hadn’t danced in ages, but it came back to him quickly. And Y/N? She moved like she was born on the dance floor, guiding him through the steps, her body close to his. It was easy, comfortable, and for a moment, everything else faded away—the noise, the crowd, the years between them.

“So,” Y/N said, her voice light but her eyes searching his. “How’s life been treating you, Mr. Navy Pilot? Saving the world one flight at a time?”

Jake smirked, spinning her effortlessly before pulling her back into his arms. “Something like that. The flying’s great, but it’s not all action movies and glory like people think.”

She nodded, her expression softening. “I bet. It’s gotta be hard being up there all the time, away from everything.”

Jake didn’t answer right away. There was something in the way she said “away from everything” that hit him harder than he expected. Because it wasn’t just about flying; it was about what he’d left behind—who he’d left behind. Austin, his family, his friends… Y/N. For years, he’d been chasing the thrill of the skies, but now that he was grounded, here with her, he realized how much he’d missed what was right in front of him.

“Yeah,” he said quietly, looking down at her. “It is.”

For a moment, they just moved together, the music carrying them as the world around them blurred. It felt natural, like they’d been here a hundred times before, even though they hadn’t. And maybe that’s what made it feel so right.

As the song came to an end, Jake reluctantly let her go, but not before he caught the flicker of something in her eyes—something that mirrored the way he was feeling. This wasn’t just a casual reunion, and they both knew it.

Y/N’s eyes flickered with something he couldn’t quite read, but before she could respond, the song ended, and the moment was interrupted. The crowd cheered as another round of karaoke started up, and Y/N’s friends called her over.

“Looks like they need me,” she said with a smile. “But hey, don’t be a stranger, Jake. It’s been nice catching up.”

Jake watched her walk away, his heart pounding in his chest. He wasn’t ready to let her go, not yet. So, in a burst of confidence, he called out to her.

“Wait! How about a duet?”

Y/N turned around, surprised. “A duet? You sing now?”

Jake smirked. “No, but I figure you could make me look good.”

She laughed, walking back over to him. “Alright, Seresin. Let’s see what you’ve got.”

Later that night, after they’d belted out a slightly off-key version of a Kenny Chesney song and shared a few more dances, Jake couldn’t stop thinking about Y/N. She was like a sky full of stars, lighting up everything around her, making him feel like maybe—just maybe—he could have something real with her.

Before he could overthink it, Jake spoke. “What do you say we get out of here? Maybe take a drive? Catch up somewhere quieter.”

Y/N’s smile widened, that familiar glint of mischief in her eyes. “You sure you can handle that, Seresin? I don’t wanna be responsible for getting you into trouble on your first night back.”

Jake grinned, already reaching for his keys. “Trust me, Y/N. I’ve been in plenty of trouble, but I think I can handle whatever you’ve got in mind.”

The two of them ended up in Jake’s truck, windows down, the warm Texas night air rushing in as they cruised down a familiar country road. The radio played softly, but neither of them paid much attention to it. Instead, they talked—really talked. About everything and nothing, about what they’d been up to, the paths their lives had taken, and all the things that had changed since high school. The cool Texas night air wrapping around them, Jake felt the urge to pull her close, to kiss her under the stars like some kind of old country song in his old tee and faded jeans. But he held back, not wanting to rush things.

Y/N told him about her life in Austin, about the business she’d started—something Jake never would’ve guessed she’d do, but somehow made perfect sense. She still had that wild streak, but there was a groundedness to her now, too. She had roots, something Jake had always admired from afar but never quite managed to plant himself.

“You seem happy here,” Jake said after a while, glancing over at her as they pulled off the road, parking under a wide-open sky filled with stars.

“I am,” Y/N replied, looking out at the horizon. “It’s not always easy, but I love it here… It’s home.”

Jake nodded, the word “home” settling in his chest like a weight. Home. That’s what he’d been chasing, wasn’t it? Not just a place, but a feeling—a sense of belonging. And sitting here, with Y/N by his side, it was starting to feel like maybe he’d found it.

She was this country boys dream girl.

[majorlysapphic]

It's brain splurge time once again...! What am I presenting today you may ask?

A glassheart, modern-day celebrity/performer AU!

TW: self-destructive habits.

(This AU is a continuation of my previous big brain splurge post, so I'll be making small references to it at the start, but I'll try my best to write this post in a way so it can be read as a standalone :)) )

Okay, here we go!

So I imagine that Red would have LOVED performing from the earliest moments of her life. Music, dance, acting, modelling; it flows through her veins and has always been her calling. And who can even be shocked by that fact? She's the only child of two of Auradon's most iconic stars in the 80s: her mother being 'The Queen of Hearts', a pop princess with a golden public imagine, and her father being the heart-throb bassist of a punk band ('Uliana's Crew'), James Hook.

It's only natural that the daughter of these two would follow in their footsteps, especially knowing her mother runs one of the most successful music labels in Auradon: 'Wonderland Records'. However, every time Red mentions she wants to start performing, she's told no (and on occasion actively discouraged from following her parents career path). Because 'she needs to prioritise growing up away from flashing cameras' and because 'the life of a performer can be demanding, it's best she focuses on school'. Frustrated, Red does end up getting a normal childhood (barring the pretty strict rules she's living under as even though she hasn't made a name for herself, yet, paparazzi still like to have a field day following her life because of who her parents are), and she's (im)patiently waiting for the day she turns 18 to finally start her career as a performer.

But we all know what Red is like, and when she thinks of an opportunity to get what she wants, she's going to take it. So, she starts anonymously posting her music on social media at the age of 14 under the username 'rebel riot', and she goes viral. People love what she's got, and Red is soaring, because this is proof enough that she can make it. So for the next 4 years, she carries on growing her platform, posting videos (whilst hiding her face with an iconic heart mask and talking with a slightly morphed accent/pitch) and interacting with her growing fanbase. Throughout this entire time, she has always had to reject invitations to perform, but on her 18th birthday she can finally take control. So when she's emailed an invite for 'Rebel Riot' to perform at a charity event, she takes it.

And that's how her official, big debut goes. She's the last to perform from all the artists at the charity concert (which include her own parents, who on occasion take a step out of retirement to perform for charitable causes), and after giving her performance her all, she takes a deep breath: flipping down the hood of her outfit and letting her hair fall down, talking in her normal voice (trying not to note down the shocked looks of Bridget and Hook as they realise who she is) as she properly introduces herself as Red Hearts, whilst theatrically throwing off her mask.

The crowd goes wild. And Red is signed up to a music label that same night, choosing to carry on performing under her stage name.

Now... Onto Chloe's path to stardom!

Chloe grew up not wanting to be in the spot light (to the relief of her mother, a popular 80s riot grrrl, 'Cinderella'). Instead, she dabbled in multiple interests, and whilst she did have fun in her music lessons, she ended up figuring out how much she loved academics. So, she grew up happy and safely tucked away in a countryside estate (meaning she is quite sheltered, but that's something Ella and Charming were willing to deal with so long as she got a normal childhood). Chloe eventually figured out she wanted to become a historian, and started her journey towards that goal - but things didn't quite go to plan. Because the world of academics can be tiring and toxic at times, so once graduating with her diploma at 21, she takes a year out before thinking of applying to masters programs. To deal with her burnout she starts making music.

And she loves it. There's a spark there that wasn't present in childhood, and soon enough Chloe's writing songs and strumming on her guitar. But it's only a small passion so far, so she enters her masters program still set on becoming an academic, but to keep her spirits high she starts posting song covers and some original works on social media.

The next thing she knows she's got a loyal following and finding that maybe, music is something she wants to take more seriously. So she starts playing at a few small indie festivals, and she loves it. So in spite of her parents worried protests, Chloe drops out of her masters program and signs up to a music label, and she finds a gradually growing success over the next few years.

Now, a key plot point: Chloe and Red are signed up to the same music label ('Atlantis City Music Group' - ACMG for short).

There's excitement surrounding the artists ACMG keep signing on, and whilst there's success with touring each of the artists separately, the label decides they want to do something big to appreciate all their stars. So, they announce a world tour with all their singers/bands participating: going from place to place over 3 months of summer in order to host music festivals.

This is how Chloe and Red will meet... And the meeting doesn't go well.

They've been assigned to share a stage for most of the up and coming festivals, and as ACMG is funding it all, they're in the same accomodation/transport/rehearsal spaces/dining areas/etc.

They're still in the starting leg of the tour, and so as stages and stands are being set up in the opening festival of the tour, Chloe and Red are at their shared stage. Chloe's heading on stage for her rehearsal time, and Red is going off. And it's an understatement to say Red is in a bad mood that day; she's dealing with a few overeager fans/borderline stalkers (which she refuses to tell anyone about because she doesn't want people fussing over her, especially her mother) and her trusted friend and backup musician (Maddox) has his flight delayed, meaning she'll start her first performance of the tour solo.

So when Chloe tries to greet her, she's brushed off passive-aggressively. And, ouch. That stings, because Chloe is a fan of Red's work - and has been following Rebel Riot since her early stages of being an anonymous singer online. But whilst it stings, they're both 23 years old and shouldn't be immature enough to hold petty grudges. Chloe can handle this (she's going to be thinking about that one interaction at 2am for at least a month), and decides to just keep pushing forward. First impressions can be deceiving after all.

But as time passes, travelling occurs, and performances go on. And Chloe gets a second impression of Red. And a third. And a fourth. And a fifth.

She doesn't need to wait to give a sixth chance to know she absolutely despises Red. Because Red is loud, impulsive, ignorant of others time, sarcastic, quick to frustrate, and a flirt.

And Chloe knows for a fact that Red doesn't like her one bit either.

In Red's point of view, Chloe is up tight, has an annoying need to placate others, sugar coats things way too much, and is a plain bore.

Because here Red is, forcing herself to stick to the trademark personality of Rebel Riot for the entire summer, whilst Chloe is getting huffy about when Red decides to extend her performance/rehearsal times by just a little bit so she can be perfect for her fans. She's here to sell a performance (something that will leave viewers reeling. Red's been one of the best in the game for years and she'd soon rather drive into a ditch than have the quality of her work decline) and live life to the wildest, and Red will be damned if she'll let some random girls judgement get in her way.

So, they carry on travelling and performing at festivals. They give off snippy remarks to each other, and try to one up each other in performance quality. Red will roll her eyes when Chloe comments about being tired at the end of the day (they all are, it's what they signed up for.), and Chloe will scoff whenever she hears about another person Red's left lovesick and 'heart broken'.

People stay clear of the bickering between the two. Because they have better things to do with their life. And also because there's a growing tension that everyone can feel building up (though Red and Chloe remain ignorant to it) and they don't want to be caught in the cross-fire.

...Then eventually, the worst happens: Red and Chloe are alone together.

It's a small, private jet with just the two of them as they travel to the European leg of the summer tour. There's stony silence. There's poorly hidden glances. There's teasing once said glances are called out. Then there's arguing.

They're in each others face, and it's like electricity is running through their veins with each spiteful word tumbling out. Red can feel Chloe's breath tickle her cheek with how close they are. Chloe's eyes are darting down to Red's lips (a habit she picked up weeks ago). And next thing you know both are silently praying that the flight deck is sound-proofed as they meet in the middle for a bruising kiss.

Once the flight lands, they're both just about presentable for cameras, murmuring excuses to go their separate ways as soon as possible.

They were a one time thing, a moment of weakness. They'll be able to go the next 2 months being perfectly professional. They don't care about what the other does. They don't think about each other at all.

All of the above doesn't hold true. Not in the slightest.

Soon enough, Chloe and Red find out the best way to maintain peace in their workplace and stop being a headache is to just carry on leaving each other breathless - It's a burning summer fling. Something superficial. Where Chloe has to painstakingly shrug on a denim jacket in the July heat to cover the scratch marks Red left behind on her back. Where Red has to aggressively rub away Chloe's tinted gloss off of her stomach before running onto stage. Where they both pull each other into hidden corners/rooms after getting jealous way too easily.

It's casual fun with a time limit.

But it feels a lot less casual the more things go on. Because when it's just the two of them, Red finally drops her trademark Rebel Riot personality and lets Chloe in to know her properly. And they start getting on (really really well). Red learns of Chloe's love for history and will listen to her rants for hours and hours. Chloe learns of Red's adoration for art, praising her sketchbooks contents.

And of course, when they learn the big things about each other, they're bound to start learning about the little things. Red's mind is a wealth of information about Chloe's little quirks and likes (and vice versa). Without knowing it, they're with each other more often than not on this tour (I'm thinking: late night drives on countryside roads singing along to the radio with the windows rolled down, stealing each others wardrobes, baking together, sneaking around in festivals when they're not on stage, having a constant back and forth dynamic on social media posts).

But the turning point for both of them, the moment when they realised that they were in danger, is when they start writing songs about each other. And, fucking hell. They write a lot of songs. There's piles of papers with lyrics about the other girl, which they keep private. Because in no way would they would ever want to share this.

So they carry on ignoring what is obviously going on. But cracks start showing in their friendship.

The jealousy gets worse (especially on Red's side, knowing Chloe tends to be oblivious of how charming she actually is). The need to be around each other is ever growing, deeming their clandestine meetings as insufficient to satiate their urge to be in each others presence (meaning they start hanging out publicly).

And then, there's a final thing that starts causing problems: Red's destructive habits. Because after all this time as Rebel Riot, Red is doing her damn best to keep up with the massive reputation she's created whilst she carries on improving her performance/impressing anyone. And this quest of hers is destroying her as she's taking it at a pace that is way too fast/idealistic to be healthy, but she can't help herself. She needs to be the best. She needs to prove to everyone that she's not weak. She needs to put on a front to show her parents that they were wrong for worrying about her starting her stardom young.

And at first it's 'small' things that Red is having issues with - she starts with skipping meals and sleep in order to practice/improve. But then that spirals and spirals.

Chloe doesn't realise Red's destructive habits until she's driving to a rehearsal studio, only to find out that Red had passed out when practicing a new dance formation earlier in the day. So obviously Chloe does the only logical thing: driving like a madwoman back to their hotel after she learns Red's been sent back to rest for the day. Chloe enters Red hotel room with her spare key (which somehow Red had acquired and decided to give to her) to find a startled Red.

Chloe goes on a miniature rant about how she'd like to know if something happened and how Red should really take care of herself. Because if she needs to start bringing Red breakfast everyday she goddamn will, and-

Chloe pauses at the sight of Red: sat on the hotel bed, straight out of a shower with a bathrobe on, a perplexed expression as if she wasn't expecting Chloe to be concerned for her well-being. But the thing that's stolen Chloe's attention? The mottled bruises all over Red's entire body. Bruises that Red had been hiding with mountains of expensive concealer.

After evading Red's typical responses to change the topic, it's revealed how badly Red's been pushing herself to perfect her performances. That her collapsing today was something mild in Red's mind.

With enough gentle questioning, Chloe gets enough of an idea of Red's state of mind and is the one to suggest that Red should pull out of the rest of the tour to take some time to heal/get help.

Red reacts very badly to this. Like very badly.

'Because she's perfectly fine and doesn't need fixing. Chloe just worries too much - and why should she care so much anyway? They're not that type of close to each other, its unnecessary and suffocating. Red's fine with committing to the the demands of being Rebel Riot as that's what makes her interesting enough for people to remain fans.'

Chloe is obviously furious Red is trying to push her away. And she's even more annoyed that Red can't see that she doesn't need to stick to the Rebel Riot persona, because Red Hearts is just as, if not more, likeable. There's no logical reason to why Red can't give up something that's causing her harm (and Chloe feels like she's being punched in the gut seeing the other girl like this).

They argue. And it's not like their previous conflicts. It's vicious and they're both saying things that they don't actually mean in the heat of the moment. And the next thing they know, what they have is over.

An hour after she entered, Chloe storms out of Red's hotel room. Both of the girls experiencing heartache. It's messy, and they're both back to how they were when they first met each other.

In fact, they're worse than they were before. Because, you guessed it! When there's anguish, more songs are being written. And this time, there's no lyrics about falling in love, instead there's quotes of what each other has said to the other, there's double meanings in the lyrics, there's rage.

And neither seem to quit it, because soon enough they decide to start playing some of these unreleased songs at the end of their set. And then there's glares being shot at each other from across the stage. There's arguing. And oh god, history repeats itself, because they're once again back together (in secret, of course). They can't seem to stay away from each other.

This time though, they are swearing to themselves that they're going to stay out of each others business. They'll only think about each other when they're with each other.

(They're the worst liars ever, because those self-imposed rules don't last more than 24 hours).

But still, Chloe and Red are in an odd place. More than friends, and less than partners. Red will have a reminder on her phone to remind Chloe to take her iron pills and she'll buy all of Chloe's expensive hair care to keep round hers. And Chloe will make sure to drag Red out to lunch everyday and will always be around to hold her at night (as Red seems to fall asleep a lot easier and earlier when she's in Chloe's arms).

But they don't talk about the elephant in the room. But it's getting harder for Chloe to ignore as she sees the tell-tale signs of Red withering away as the festival tour goes on.

And out of all the people Red keeps contact with, it's Maddox who has to point out the two of them are practically dating and to sort it out before everyone on set has to deal with another awkward week of them blowing up.

So... They talk. They have to.

And they don't get together.

Because Chloe highlights the fact that she won't be a bystander AND a girlfriend if Red keeps destroying herself. And Red doesn't want to say goodbye to her Rebel Riot persona. She doesn't want to admit it's time to let go and/or make a change.

They make it to the final week of the summer festival tour with ACMG, and they're pretty much acting like kicked puppies around each other. The cherry on top? Both their mothers are here to support them for their final show of the summer, and they can tell something has happened.

And have you ever told your mother about your summer fling/sort-of-nearly girlfriend/one that may have gotten away/the bane of your existence and the reason you get up in the morning? No? Well neither have Red and Chloe before, and they both feel like digging a small grave when they both end up doing so.

Both get information on why their mothers were so against them becoming celebrities when they first started off. And for Red, this incudes Bridget tearfully telling her daughter that she is so much more than what she can give to people. That she should live for herself and for the people she loves that love her back. And whilst she can't dictate what Red does, she really hopes that she won't make the same mistake she did decades ago.

A lot is going on in Red's mind when she goes up to be the closing act for the final show.

She goes through with her set, hears the cheers of her fans. And once playing her final song, she starts making her way off stage only to meet Chloe's eyes. Chloe who had been watching from the VIP section by the stage, in hopes to find some kind of closure or at least say goodbye. And Red knows what she needs to do.

She goes back, calling attention for one last song. The song she covers? One of Chloe's unreleased songs she had shared a few festivals ago. A song that was about the good in life and the joy she's found with Red.

Red's heard it only a handful of times, but she committed it to memory. And after performing the song, she's looking at only Chloe when she makes a large announcement.

She'll be abandoning her act as Rebel Riot for good. That she'll be taking a hiatus to have some time for herself and others that she loves before releasing new music under her own name, not a stage name.

There's mixed reactions in the crowd. But for the first time, Red doesn't care if she's disappointed her fans. Because Chloe is quickly making her way onto the stage, and she practically runs to Red. And before Red can whisper any apologies for the past, Chloe is bringing her into a kiss for all the world to see.

In that moment, they're only caring about each other. In that moment, they know they'll be okay and they're going to be able to work through this together.

[tarjapearce]

dancing to sexy latin pop or reggaeton music with miguel. he's got two left feet and slight rhythm but he's also very turned on by you 🤭

Another Pre-Soccer Family and how they keep flirting? Yes. 🤭

Couldn't help but imagine this with these songs 🤭

Even though the little outing after soccer game you had invited Miguel to was success, your wallet surely suffered some damage.

The man ate. He was kinda quiet mostly of the time, but surely enjoyed the food you had treated him with. You were just taking mental notes of what he liked and what not. The spicier the better, definitely a Horchata team man, and of course, a carne asada man. The conversation was sparse, but it was nice. You were as nervous as he was, didn't actually think that he would accept.

He loved meat. And once you finished you drove him home. He ended up 'telling' you about this upcoming party at Peter's to celebrate MJ's birthday.

"If you wanna come, though."

"Are you... inviting me?" You gave him a smug smile and he just cleared his throat and shrugged.

"I'm just telling you."

You pursed your lips, smile fading.

"Oh... okay. I might go. "

"Might?"

"Hmm." You parked outside his home, "Not sure if I can make it that day. But let me see what I can do"

-----

Miguel gave Peter's house entrance subtle glances here and there. He was busy with the food, Peter had asked him for the details of your date which, he plainly just shrugged off as a normal outing.

"Did you invite her to the party?" Jess spoke

"I told her about it." He frowned at the disappointment in Peter's and Jess, even Gabriel's face.

"Telling is not the same as inviting! It's the etiquette rule to invite someone, when you want to see them again that is. No wonder she looked kinda bummed out."

"Yo tampoco vendría si me lo dijeran así." (I wouldn't come either if I'd get told like that)

His deep red eyes glared at his brother's comment.

"Si viene, mínimo baila con ella." (If she shows up, the least you can do is to dance with her.)

"Okay, okay. Leave the guy alone. He hasn't dated someone in ages. But yeah, you're a dumbass. C'mon." He offered a beer, Miguel took a long swig of it.

------

He didn't had your phone and certainly approaching Jess was out of the equation. She'd tease him to no end before anything. Party had started two hours ago, and still no signs of you.

He rubbed his face, deep in thought on how he had possibly screwed it up as he nursed his Horchata glass in the kitchen. He was preparing an extra plate of food when your voice echoed through the entrance.

"I'm so sorry for the delay! Got too carried away picking a gift" You hugged MJ.

"You hungry?" Jessica spoke as your voices approached. His grip on the spoon tightened.

"Ah, don't worry. Kinda ate in my way back. Maybe later."

Your eyes met his. His jaw tightened and you just gave him a little smile and a wave before disappearing back with Jessica.

Awkward.

----

You had been dancing the last few songs in a row with Jessica and MJ, he just watched you from afar. You had rejected a couple of men that had asked you to dance.

"He keeps staring" Jessica mumbled and you shrugged.

"Can't do everything myself. Besides, correct me if I'm wrong, but he doesn't seem too keen in making an advance either"

"You kidding? He's been staring holes at the door waiting for you to come." MJ whispered at your ear.

"He's just... shy I guess?"

The music was a bit upbeat, the lights were down, you refreshed yourself before going back again at the dance floor. You saw him across the room, bored out of his mind, and taking swigs of his beer that was warm at this point.

He nearly choked as you approached him.

"Let's go"

You offered your hand and he looked away.

"No puedo bailar" (Can't dance)

"No te preocupes. Yo tampoco pero te enseño" (Don't worry, Me neither but I'll teach you.)

He took a last swig of his beer and stood. He didn't know if it was the alcohol or it was the whole thing that was about to happen that made his ears warmer. The beat changed into something more slow and mellow. A bachata.

You giggled as you stood before him.

"Now what?"

"We are supposed to get closer"

He crushed your heeled foot with his boots

"Sorry... fuck." He rubbed his neck awkwardly.

"Relax, it's fine. It happens alot."

One of your hands went around the small of his waist as he took your hand. Delicate and small snuggled against his calloused and big one.

His heart skipped a beat when you guided his other hand on your waist.

"Right"

"Bachata is easy. It's just swaying your hips left and right. It's the easiest dance" You stepped closer, and moved with the beat. He could feel your curves moving. His feet followed. Clumsy, step dances were enough to make you laugh. He frowned.

"Perdón, perdón. Ya, no me voy a reír" (Sorry sorry, Ok. I won't laugh)

"Suelta esas caderas, mano" (Let those hips go, man)

Your hands went to his hips, and moved them.

"One, two" Your hips swayed to accentuate the little whip move at the end of the second step. He gulped.

"Eso, Miguel!"

You clapped softly, he just chuckled.

"Now, just do that to the left and right and that's it."

"Really?" He took your hand in his again and placed the other one on your lower back.

"Yeah." Your lips stretched in a bashful smile.

For once you were glad the lights were down as you danced. You still could see him. And of course still could feel his feet crushing yours. People stared your way, but neither of you cared, too focused in teaching eachother things as you laughed out of nervousness.

The song changed, into something more Sultry, yet danceable.

That was definitely one of Gabriel's songs.

"I don't know how to dance this one, does the previous dance moves apply to this one too?"

His technicism in speaking was plain endearing to you. You giggled at his pouty face.

"Not really, but if you feel comfortable with-"

"Enséñame, pues." (Teach me, then)

That shut you giggle off. He smirked.

"Estás seguro?" (You sure?)

He shrugged and crossed his arms on his chest.

"We're already making a fool of ourselves, so..."

"Me gusta tu entusiasmo, Dracula" (I like your eagerness)

"Qué te digo, me gusta aprender." (What can I tell you. I like learning.).

You slapped his chest playfully then took his hand and guided him to a wall, like many other people around. His hands were on your waist again, and this time yours rested on his neck. The lyrics of the second song only added a little sizzle to the mood.

Imagínate en mi cuarto

Comiéndote a besos

Your body swayed, it took a little for him to get your rhythm. And it was almost intoxicating for him, borderline overwhelming. The closeness of your bodies didn't help, the lyrics of the song only made his eyes to stop at you lips, Your fingers had ended up entwined, and certainly that little red dress you wore didn't help the upcoming override in his system. The song was over, but it didn't matter.

One of your hands caressed his nape and he shuddered, you bit your lip, he inched closer to your face. Nails raking softly the exposed part of his skin underneath his neck, his breath fanned over your lips. But one finger stopped him, said finger separated your lips from his.

"Nuh uh. No me invitaste, recuerdas? " (You didn't invite me, remember?)

With a smirk you separated your body from his. His eyes blinked, trying to process what was happening

"Thanks for the dance" You smiled oh so sweetly before disappearing into the kitchen, leaving him there, a flustered mess. Mind was in 404 error.

Dios mío...

[eddiebabygirldiaz]

Hello Beloved 💙💙

1 and/or 28 for the soft prompts if it sparks joy ✨️

The soft, sultry croon of Dizzy Gillespie’s trumpet filters through the kitchen, its gentle and heartrending notes caressing the floor and cabinets and every inch of Buck’s skin.

Buck hums along as best he can, letting the vibrations settle in his bones and sweep him away, the combination of sounds turning into a collection of sparkling orange and deep maroon and rose gold inside his chest, painting his flesh with the same feeling and colors of the setting sun, whose final touches spill through the window above the sink.

He never feels more settled or peaceful than when he is here in Eddie’s kitchen, preparing food for his boys and listening to the jazz playlist he reserves solely for cooking.

Buck isn't sure why, but the syncopated rhythms, husky timbres, sharp pitch changes, and the raspy voices of jazz artists like Dizzy Gillespie, Ella Fitzgerald, and Miles Davis, always heighten the cooking experience for him. The sounds of it rattle pleasantly through the room and his veins, grounding him and allowing him to focus solely on the task at hand.

He joins in with Gillespie’s crooning, softly singing, “Swing love, sweet cadillac, comin’ for to carry me home,” repeatedly under his breath as he brings the edge of the knife down swiftly, slicing through pieces of carrot, potatoe, bell peppers, and squash in a steady, soothing rhythm.

The music carries him through each movement, weaving into his muscles like vibrating threads that tug him from place to place, his hips swaying with the beat and feet gliding across the floor as he deposits the chopped vegetables into the chicken stock simmering on the stove.

A soft laugh breaks through the music, skittering through the air, reaching out for Buck like the winding tendrils of a plant’s roots or the final rays of sunshine that kiss the horizon. It’s a sound Buck cherishes, the dips and valleys of it tattooed on his heart, held dearly in the very center of him. A sound that at times was hard won, only breaking past gritted, bloody teeth when Buck reached inside and yanked it out, but now it falls easily from lips curved in the shape of love and fondness, spilling out freely and genuinely like pure, clear water from a spring.

Buck turns around, guided by the sound of that laugh and the thread that connects him to the person it comes from.

Eddie is leaning against the frame of the entryway, arms and legs crossed, his body angled in a slant that has no right being as hypnotizing as it is. The lines of him are long and lean and strong, his legs lengthened by his position and the breadth of his shoulders wide, pulling at the seams of his white t-shirt in a way that makes Buck’s mouth go dry. He’s had his hands and teeth and lips and tongue all over every inch of those legs and shoulders, but it’s never enough.

He’ll never get enough of Eddie for as long as he lives.

Eddie looks like he’s been there for a while, comfortably settled against the wooden frame, his eyes dark and hooded, a lazy smile stretched across his face.

Buck huffs and leans back against the counter, eyes narrowing at Eddie’s form. “How long have you been standing there?”

Eddie hums and shrugs, tilting his head to the side and resting it against the frame. The corner of his lips twitch and his bottom lip pokes out a little bit, tell-tale signs that he is fighting off a smirk. “Long enough.”

“Well, you could have come in and helped me,” Buck grumbles.

That laugh flows out of Eddie again, light and breathless, not weighed down by anger or hurt. He pushes himself off of the entryway’s frame and strides over to Buck. “Sorry, babe,” he says, not sounding very sorry at all, “I just love watching you like this.”

Buck levels Eddie with an unimpressed look as he slots himself along Buck’s side, hand landing hot and heavy on Buck’s hip, thumb automatically dipping beneath the edge of Buck’s hoodie to stroke over his skin. A shiver runs through him, tiny trembles sparking in his cells beneath Eddie’s touch and spreading along his entire nervous system.

Eddie grins, wild and pleased.

Buck nudges him in the chest with his elbow. “What exactly do you love watching? Me slaving away in your kitchen? Doing my very best to provide you and your son with a hearty meal after a long day? You got a housewife kink I need to know about, Eddie?”

A sharp pinch to his hip makes Buck jump and yelp.

Brown eyes shine with mirth, a glittering darkness that is more dazzling than the night sky, as Eddie laughs bright and loud. Buck smiles because Eddie’s joy is the sweetest thing he knows, but he still slaps at Eddie’s chest in admonition. Eddie catches his hand and holds it against his chest, flesh and bone fluttering beneath their hands as his laugh dies down.

“You’re such a little shit,” Eddie says, his nose scrunching the way it does when he’s equal parts amused and exasperated. “Though, the thought of you in a little dress and dainty apron is rather compelling.”

“Mmm, yeah?” Buck steps in a little closer to Eddie wraps his arms around his shoulders, linking his hands together behind Eddie’s neck. “I’d look good in any dress, but definitely in a little one.”

Eddie’s hand slips from Buck’s hip to the small of his back, settling into the slight groove there with an intimate familiarity, his fingers curling into the fabric of Buck’s hoodie. Buck’s soul sighs in relief and sings with the first sparks of pleasure as Eddie presses against Buck’s back, exerting just enough force to pull Buck into Eddie until there’s only a few inches separating them.

“I don’t doubt it.” Eddie leans in and nudges Buck’s nose with his own, a sweet brush of skin, a kiss so serene and intimate that it makes Buck’s knees weak. “You look good in anything, baby.”

Buck slides his nose along Eddie’s then shifts his head until he’s nosing at Eddie’s cheek, giggling a little at the scratch of stubble. He kisses that beautiful curve and feels the slow smile that spreads across Eddie’s face, blooming underneath Buck’s lips like a flower coming to life on the first day of spring.

“You keep flattering me like that and I’ll go find the daintest, laciest apron I can find and wear nothing underneath. Really make those housewife dreams come true.”

Eddie huffs and shakes his head, dislodging Buck’s lips which were dragging across his cheek and jaw.

When Buck pulls away to look at Eddie, happiness is painted across his face bright and vivid, but there’s an edge of seriousness that makes Buck pause.

Eddie sighs softly and gives Buck a crooked smile. “Not housewife. But husband sounds pretty good.”

Buck’s breath hitches in his chest, the air that keeps him alive rattling around in between his heart and breastbone, fluttering around like hummingbird wings.

“W-what? Eddie, are you–”

“Not yet,” Eddie rushes to say. “But, would you–I mean, is that something you would be interested in?” A tiny grimace pulls at his face and even though awe is dripping through Buck like spiced honey, he can’t help but laugh and drop his head so that their foreheads are pressed together.

“Is that something I’m interested in?” Buck parrots back.

Eddie groans. “Shut up. I’m not great at this.”

“No, no,” Buck reassures, dropping a quick kiss to Eddie’s lips. “You’re perfect,” he murmurs.

Eddie hums and pulls Buck into a deeper kiss, licking into Buck’s mouth quick enough to grab a taste, but not staying long. Buck whines into Eddie’s mouth as he pulls away, pushing his lip out in a small pout just to hear Eddie’s laugh, but also because he’s a little disappointed that the kiss didn’t last longer. Kissing Eddie is one of his top five favorite things to do and if he had his way, at least twenty-two hours of the day would be spent doing just that.

A sweet peck is placed upon Buck’s pouting lips as Eddie places both of his hands on Buck’s hips and moves them away from the counter, guiding them into a gentle swaying motion set to the slow rhythm of the music still playing in the background.

Buck tightens his arms around Eddie’s shoulders and shuffles along with him, tucking his face into Eddie’s neck as they dance through the kitchen.

“So that’s a yes?” Eddie asks quietly.

The sultry jazz music spilling from Buck’s phone has nothing on the lilting melody taking residence in his chest, something bright like the sun and sweet like honey and bubbly like champagne beating in his blood and marrow, all of it blending together to sing Eddie Eddie Eddie.

“Yes,” Buck murmurs against the skin of Eddie’s neck before planting a kiss there. “That is a yes to you eventually asking me to marry you.”

Eddie’s laugh is quiet this time. Buck doesn’t hear it but he feels it rumble through his own chest, a piece of Eddie’s joy sinking into him, and he hopes it weaves itself into his DNA, a part of Eddie forever held inside Buck, more beautiful than the music they are dancing to and more colorful than the sunlight bathing them in its warmth.

soft prompts

also on AO3

[dispatchvampire]

Radio Free Bucky - Bucky x Fem!OC

Pairing: Bucky x OC (in progress)

Warnings: Fluff, mild angst, casual swearing, smut in later chapters

Series Summary: A bunch of interrelated  of fluffy ficlets about Bucky and Penelope. Strangers in the night, tenuously connected by the past, finding their way together a little at a time.

Chapter Summary: In which Bucky has a birthday and someone unexpected knows about it.

It was his birthday, but he’d kept the proceedings low key. Dinner with Sam and his family, some cake, before retiring to the fixer-upper he’d bought not far from their family homestead so he had a place to stay in Delacroix  that wasn’t the front room couch when he came down. That’s really all he had the mental and emotional space for these days.

The soft patter of rain on the roof and windows droned in the background as he worked on the birdhouse Sarah had asked him to. Sam’s sister was a sweetheart, very unlike her brother, and he had no problem giving in to any and all requests from her and her boys. They did love them some Uncle Bucky. 

A memory of a warm summer afternoon on the bayou made him smile as Chet Baker’s smooth voice crooned about falling in love too easily, just a shade louder than the downpour. As much as Sam gave him shit for it, Bucky liked what he liked, and he wasn’t ashamed. It was good music. 

He’d found this satellite radio station one day online, looking for god knows what now, but it had been a revelation. A whole channel devoted to 40’s music, and it was like the universe was giving him a bit of comfort after kicking the hell out of him for so long. 

The soulful trumpet at the end of the song faded into the gathering shadows in his workshop.

“That was Chet Baker on vocals and trumpet there, and I think that might be my favorite song of his. It’s ten past eight here on the east coast, and this is 40s Junction.” 

Just hearing her voice made Bucky smile. It was warm, knowing, with a spark of humor that made him wonder if her actual smile was as nice as what he pictured in his head. And, to be fair, he’d pictured her a bit.  

This woman, the only female DJ at the station near as he could tell, was a nightly companion as he worked on his projects and unwound at the end of the day. Hearing tiny snippets of her life, and how joyfully she related to the music that was clearly way too old to be current for her, made him feel a little less alone in the world. It was an unusual feeling and he’d started to enjoy it. 

“Now, I know I promised you all I’d get to some Ella Fitzgerald this hour, but…” she trailed off and he turned his head to look at his phone like he expected to see her there, with a mischievous grin. “I wanted to take a moment to share something with you all. Today’s a special day in my family. It’s a tradition my Pawpaw started way back in 1945.

“I’m sure you all have guessed by now that he’s the reason I’m here with you, five nights a week from four to midnight. He was my best friend growing up and I miss him terribly. 

He served in the Army in Italy, with the 107th Infantry Regiment.” Bucky carefully set his work aside as his fingers went numb. 

“You history buffs probably recognize the unit, but for those that don't, that’s Captain America’s outfit, and my grandfather was Gabe Jones, one of the original Howling Commandos. 

“Today is March 10th, the birthday of one of my Pawpaw’s fallen comrades in arms, Bucky Barnes. For years, on this day, he’d raise a glass and tell us about the man who saved his life more than once. A man who gave him a reason to go on, to keep fighting, even when all seemed hopeless. Whose death marked his young life indelibly. You get the picture. 

“He’d raise a glass and ask us to remember the fallen and their families, and to help those still around us carry on. After the Blip, I’m sure a lot of us can relate to those sentiments.” Her sigh held paragraphs he didn’t need a translation for. 

“Anyway, long story short, it feels weird to say that Bucky isn’t dead, as Pawpaw informed us, but I’m celebrating his day just the same. I’d like to think he’s having a good 107th birthday, out there, somewhere. 

“As for me, I raise a glass to him, and all the boys who served.” She paused and he could faintly make out the sounds of ice cubes hitting glass. “And with an extra sip for those who didn’t make it home. Happy Birthday, Sergeant Barnes, wherever you are. Now, here’s Ella, serving up some Black Coffee.” 

Bucky’s gasp when the music kicked back in told him that at some point he’d lost air, and even though he was breaking currently, the lump in his throat was throttling him slowly. Of all the things… so many thoughts in his head, fragments of memories, imaginings. Abandoning his workbench entirely, he shuffled across the room to toss himself down onto the couch in the now mostly-dark. 

He could see Gabe’s face in his mind like it was yesterday. Easy smile, quick wit, brilliant mind. Gabriel Jones had been a good man, and it warmed Bucky’s heart to know he’d gone on to come home, have a family, and that he kept the joy in his life. 

The tender affection in her voice when she spoke of her grandfather said more than any words could ever. That was the true measure of a man, the love of those left behind.

There was a voice in his head, one that sounded annoyingly like Dr. Rainor’s, whispering that he was well-remembered by those he’d left behind too, and that meant something. To them, to the world. It was a voice quickly snuffed out by the knowledge that while that may have been true at the time, a whole encyclopedia of lifetimes had transpired between then and now, and his worthiness of that sentiment, no matter how well-intended, well… it was more worn than not. 

Still, it warmed his heart a little to know that he was thought of fondly, and by his DJ-crush of all people, even if it was a strange coincidence. How could it not? He may have still been getting used to this time, but having that moment, that connection no matter how brief, felt like a much-needed hug in a world that has offered him precious little in the way of comfort. 

For a second, he could just close his eyes in the gathering darkness and let the music and rain rhythm wash over him, like a baptism of time, washing him clean once more. For a second, he could just… be. And it was enough

[fantom-flower]

fantom's album review #1

I decided I'd go through NPR's The 150 Greatest Albums Made By Women.

Doing all 150 seemed a little too daunting, so I'm just doing the top 50. I'm going in order from 50 to 1, listening to all the albums from start to finish, rating them and writing my opinion.

I'm just doing this for fun, to learn more about the history of popular music and also listen to genres that I'm less familiar with.

All my ratings are based on my own personal tastes, so the following list is HIGHLY subjective.

50. Hole - Live Through This (1994)

7/10  I’ve never been much for 90s grunge. I was a little too young for its heyday (I was <10 when this album came out, hardly the intended audience) and later when I got into 90s music, grunge never really appealed to me. Still, I enjoyed this album, and I think a few of the songs on it will make it into my regular rotation.

49. Ricki Lee Jones - Pirates (1981)

2/10  Wow. I fucking hated this album. Her voice is okay, sometimes annoyingly breathy, and not nearly interesting enough to carry the meandering talk-singing she engages in nearly every song. Best thing I can say about this album is that it ends.

48. Etta James - Rocks the House (1964)

7/10  I don’t like live albums. That being said, this one is actually pretty good. It has a fun energy, with some great call and response with the audience. NPR's review said she “howled her way through” her songs, and that is accurate. Not something I usually enjoy, but aside from the howling, she has a very powerful and lovely voice, and even the howling started to grow on me by the end of the album.

47. Celia Cruz - Son con Guaguanco (1966)

10/10  No notes. I fucking loved this album. Es La Humanidad is my favorite song off of it. Stunning voice, great instrumentals, so fun to listen to.

46. Emmylou Harris - Wrecking Ball (1995)

6/10  A lot of the songs were really hit or miss for me. Largely, I really preferred the accompaniment. Wrecking Ball in particular stood out with this great lonely, yearning sound. Deeper Well is the best song on the album, if the rest had been like that, could have been a 9/10 easily. Orphan Girl was awful.

45. Dusty Springfield - Dusty in Memphis (1969)

5/10 Boring. The Windmills of Your Mind was alright.

44. Heart - Dreamboat Annie (1976)

9/10  Glad to find that Magic Man and Crazy on You are representative of the album rather than exceptions from it. Soul of the Sea is probably my favorite track. Lots of fun to listen to.

43. M.I.A. - Kala (2007)

2/10  I think I like Paper Planes as much as the next guy, but not enough to listen to a whole album of it.  Absolutely chock full of the most annoying sound effects known to man.  This one took me a long time to get through. When it was time for me to listen to music I kept thinking, “I don't want to ruin the pleasant vibe I have going by making myself listen to this.”

42. Ella Fitzgerald - Ella Fitzgerald Sings the Johnny Mercer Song Book (1964)

9/10 Hard to go wrong with Ella Fitzgerald. Name a song of hers that’s not an instant classic. I was surprised to see that this album was from the 60s when I started listening to it. Not the decade I associate with big band. I deduct one point because for me, all slow, soulful, romantic big band songs all kind of sound the same. I like the sound, but I like having some variety. 

41. Tracy Chapman - Tracy Chapman (1988)

10/10  Came into the album only having heard of Fast Car. It lives up to the hype, and the rest of the album does not disappoint! Great sound, great lyrics, great social justice message. Talkin’ bout a Revolution is going to be the next song I listen to over and over again to wring every drop of serotonin I can get from it.

Final thoughts of albums 50-41

Favorite album from this group is Tracy Chapman's self titled album. 

As for my least favorite, it's really hard to choose between MIA and Ricki Lee Jones. They were both so deeply awful to listen to.

What I'm looking forward to in albums 40-31:

Kate Bush and my childhood favorite, Tina Turner

What I'm dreading in the next ten:

Björk. I've been doing my best to listen to all the albums from start to finish even if I don't like it. Björk might break the streak.

[imjustavenuxwithaboomerang]

rating rise of red songs in real time as i watch it

red by red, jack of diamonds, and guards: 6.75/10

i like the chorus but could do without the guards' parts. kylie sounded really good on the verses and the "red, red, red, red" parts but i don't know how i feel about the "set it off, go berserk" parts yet

so this is love by cinderella and king charming: 9/10

was sung for literally 30 seconds but brandy and paolo sounded good. the pacing of the song was a bit off to me, like i swear the song sped up at moments (SPECIFICALLY at the "so this is what makes life divine). it was a very pretty rendition though

love ain't it by red, queen of hearts, chloe, cinderella, and auradon citizens: 6/10

i like the beginning and the chorus but, at least to me, it's kinda messy. the rap parts were...okay but not where i thought the song was going. and i wasn't really vibing with the guards and citizens singing until it got to the choir-like part but it was slightly unnecessary

what's my name (reprise) by uma: 8/10

i know that it's technically red version but that's soundtrack only so i'm calling it a reprise. it was all going fine until the "no one's gonna stop us, soon the world will be ours" it's like...off. the "stop us" is way too fast and the whole line sounds like china was behind the music and they told her to speed up (which most likely isn't what happened but that's the energy it gave off) or like the producer spliced two recordings incorrectly

fight of our lives by red and chloe: 8.5/10

favorite so far if i ignore the rapping. i seriously need them to stop the rapping (they're not bad at it but it's happened way too much). the harmonies and layering are very good and nice to hear. malia and kylie's voices blend well together. (also not about the song but the way they put their foreheads together in supposed to be determination was very gay, very queer, very wlw of them)

life is sweeter by rise of red cast: 6.5/10

it's objectively good but not my cup of tea. the chorus really carries the song. i vibed with uliana, morgie, and hook's parts a lot. ruby's voice sounds very nice on this song (and also reminds me of someone else, same for morgie). i can't tell if i liked that the song acted as an intro for the characters

perfect revenge by uliana, hook, morgie, hades, and maleficent: 5/10

more rapping yay (dara actually pulls it off but i'm getting a little sick of it). i'm not really digging the melody of the chorus and post-chorus. it's really busy and layered so it makes it slightly worse. def my least favorite so far

shuffle of love by bridget: 8/10

it played for like 30 seconds but i really liked what i heard. idk why but i just really like the melody and the way it was sung. then again i only heard a little so it's not any higher than an 8 and there's a chance the rest of the song isn't as good

get your hands dirty by ella and chloe: 8.75/10

new favorite. absolutely love the songwriting and the melody. again the rapping was unnecessary but it was a bit better in this song so whatever. morgan and malia's voice really compliment each other and morgan sounds so good

life is sweeter (reprise) by red and queen of hearts: 7/10

rita and kylie sound great but i like the song in the original tempo. you're probably thinking 'but venux the original got a lower ranking', yeah well that's because i didn't like the verses whereas this has no verses

life is sweeter (remix) by rise of red cast: 6/10

objectively fine, not much to say so sorry. not always a fan of remixes

[semi-sketchy]

Well, that's Sonic X finished. Yes I still really like the show.

Firstly, season 3 is a bit mixed. The first half it struggles a bit to find it's footing with the rhythmic "new planet, Metarex stole the egg but are still there for some reason, fight ensues". It gets pretty tedious. Honestly, at this point I was missing the human characters and their antics. Like Mr. Stewart shadowing everyone as if he was coy, Rouge having Topaz to bounce off of, Ella and Chuck... I wanted something to spice it up.

However, the second half, after the Emeralds get scattered again, it starts being less formulaic, having reveals and turns into some good entertainment.

Although, Eggman stuck out to me as being particularly not great this season. First half when he's causing trouble and such is fine, but then when he becomes a sort-of double agent and starts looking out for Sonic and his friends...I just didn't like that for Eggman. It was framed more as fatherly-oversight instead of Eggman perusing his best interests. It only happened a few times in season 1 and 2, so it was easier to overlook there, but it's prevalent enough in season 3 for me to take issue with it.

On the plus side, Shadow is actually enjoyable! I didn't care for how Shadow (or SA2 in general) were done in season 2, but I liked what they did with him here. He's kinda neutral, clashing with Sonic and trying to kill Cosmo, but at the end of the day his interests are still to stop the Metarex and save the universe. He's cold, but his actions show he does care, he just has his own way of doing things. Plus he is a bit of a showoff.

I still think season 1 overall is my favorite with 3 in the middle and lastly 2. Man the Discotek subtitles made season 2 worse...

I also went into this biased that the changes between the dub and sub were negligible. Perhaps because the dub isn't as fresh in my mind as when I formed that opinion, but the sub is definitely my preferred version now. I prefer the Japanese voice cast (I wish Cream could have an English VA as good as her Japanese X one, high pitched yet so soft spoken...it's so easy on the ears) and the music is so much better.

The biggest difference for me is Chris. I actually liked him. I can't exactly narrow down why, he used to annoy me, but that wasn't an issue this time. Maybe I've grown up, perhaps the writing frames him better in the sub, maybe it's this specific translation, I can't tell.

Are the dialogue changes that huge? No. Don't get me wrong, there is a difference, however the show's plot is still the same and understandable in the dub, which, makes sense. The story has to follow the animation. Like I said earlier, the translations between these two languages is somewhat subjective and sometimes sentences need to be shortened or made longer to fill the space. That's why plenty of lines carry the same or similar meaning but are said in a different way.

Yes, the writing is better in Japanese, hell everything is better in the Japanese version and I think that applies to season 3 the most. Could I recommend it over the dub? Easily. If possible, watch the original version. Although if you really can't stand subtitles and want the audio in English (or only have access to YouTube where the Japanese version doesn't have English subs), is the dub acceptable? Also yes, it'll do.

You do have to deal with the censorship in the dub, though I've been aware of it since I was a kid. The animation censorship is silly and stupid, but aside from Chris getting flung in season 2, I didn't think the cut scenes removed much of value. However, while I didn't like the beginning of an episode reusing the end of a previous one during bingeing, when coming back to watch more after a few days, it was a nice refresher. A reminder of a time when you had to wait a week to see what happened next instead of bingeing an entire season in a day. I liked it even though it isn't necessary in this day and age.

As said before, this was not my first time watching X in Japanese. I saw it several years ago and this series rewatch was moreso an excuse to say I finally used the Blu-rays I spent money on.

If I had to rate it, 8/10, maybe even an 8.5. Solid show where there's some very high highs and the lows are still quite enjoyable while the cast is mostly faithful to their game personalities. There's a reason this show has reigned supreme in the fandom for such a long time.

Coming off of Frontiers, it was a nice reminder that yeah, Sonic is still good.

Anyways, I guess next is Boom, although I rewatched it like a year or so ago when I bought the steelbook. I've seen it so many times, I've practically got the show memorized by now. Spoilers: I like it a lot.

[septembersghost]

Have you ever listened to Orville Peck? His voice is gorgeous. Like Elvis, Johnny Cash, Michael Buble, and Bing Crosby all rolled into one amazing country singing package.

i have not, but i listen to all the artists you mentioned so obviously i need to rectify this!

"Over spare, elegant instrumentation—Peck is a student of Sam Phillips, Elvis Presley’s first producer, who, in the nineteen-fifties, pioneered a way of delaying and doubling echo to give recordings a spooky, pinging depth—Peck grapples with depression, heartache, and restlessness."

"His voice conveys its own sense of classic mystery: Peck croons with a deep, soulful sound that’s been compared to Elvis Presley, Roy Orbison and Chris Isaak."

the lyric: "She tells me she don't like Elvis, I say, I want a little less conversation, please," he's just like me fr

there are a lot of other amazing and insightful things in the articles i pulled up about him too, i don't know how i've been out of the loop!

i will talk about this at any given opportunity, but elvis' impact and legacy inspiring countless artists across genres and generations, to the point where it's impossible to calculate how far-reaching those threads are (and the layers there, because many artists were inspired by people who were inspired by him - if someone cites the beatles or paul simon or billy joel or freddie mercury or bob dylan or tina turner or bowie or hendrix or dolly or stevie or or or--- as influences, that initial spark goes back to elvis, and that continues with so many modern musicians today, including people like miley and lana and lady gaga and harry and bruno and beyonce). like this barely scratches the surface of it, it's phenomenal.

orville peck is not alone carrying that torch, but everyone expresses it uniquely, from different backgrounds, races, orientations, and it's such a beautiful thing. @joons sent me this last night:

up and coming artist stephen sanchez, who my anon has messaged me about, and whose album is built around a vintage theme was shaped and influenced by him, plus jillian cardarelli's new song directly dedicated to him...it's so beyond him never being forgotten. he's ingrained in the very fabric of music. that's his legacy, that miraculous connection to music and the happiness and comfort in it and how its humanity bridges all gaps and brings people together and sparks something within them that they share with others.

sorry this got off-topic asgshsdjfgh but it's remarkable and touching to me every time it comes up - and the same is true of artists like bing and frank and ella and billie holiday and nat king cole and tony and judy etc, they're not here, but they're never gone. as long as their voices are heard and remembered and loved, as long as the beautiful tapestries of their music are passed on and inspire others, they're still alive in spirit. one candle lights another candle and those flames become eternal.

[deadcactuswalking]

REVIEWING THE CHARTS: 17/08/2024 (Chase & Status/Stormzy)

It’s a new #1 the second week in a row, as Chase & Status of all acts launch their hit “BACKBONE” with Stormzy to the top of the UK Singles Chart, it being the first for the drum and bass duo and the fourth for the MC. Perhaps unexpected but an ultimately exciting shake-up, it does not reflect the rest of this dull week. Welcome back to REVIEWING THE CHARTS!

content warning: celebrities complaining

Rundown

As always in this series, we start with our notable dropouts, those being songs that exit the UK Top 75 - which is what I cover - after five weeks in the region or a peak in the top 40. This week, we bid adieu to “you look like you love me” by Ella Langley featuring Riley Green and “Pour Me a Drink” by Post Malone featuring Blake Shelton which may rebound given the album’s release, as well as some bigger hits like “LUNCH” by Billie Eilish and “i like the way you kiss me” by Artemas which lasted longer than it ever should have.

As for our returns, other than Noah Kahan’s “You’re Gonna Go Far” re-entering at #74 after peaking at #63 earlier this year - it often just bubbles under like this - we have a big resurgence at #27, as Madonna’s “Like a Prayer” gets a boost from being featured in the Deadpool & Wolverine soundtrack. It was the pop icon’s sixth #1 and stayed at the top for three weeks back in 1989, thanks to firstly being a fantastic song as well as having a controversial, larger than life music video that angered the Vatican… like all great artists have at least once. Whilst a classic, it’s not exactly my ultimate favourite of Madonna’s hit but with a catalogue like hers, that’s inevitable, and naturally, the track has seen success in several cover versions. Trbute act Who’s That Girl! released a version alongside “Don’t Cry for Me Argentina” that reached #88 in 1997 and Miley Cyrus reached #79 with it in 2022, though between those were the biggest versions in the UK, the first being from Eurodance outfit MadHouse who took their “Like a Prayer” all the way to #3 in 2002, when Darius’ “Colourblind” occupied the #1. In 2010, the cast to the musical sitcom Glee created a Madonna tribute episode that obvioussly had to contain “Like a Prayer”. It reached #16 in 2010 on its debut week, the same week that Roll Deep debuted at #1 with “Good Times”.

And now that history lesson’s over, we also have a few notable gains, those being “Double Life” by Pharrell Williams at #56, “Carry You Home” by Alex Warren at #51, “Black Friday (pretty like the sun)” by Lost Frequencies and Tom Odell at #50, “Sailor Song” by Gigi Perez at #43, “I Love You, I’m Sorry” by Gracie Abrams at #38, “Big Dawgs” by Hanumankind and Kalmi at #21, “Somedays” by Sonny Fodera, Jazzy and D.O.D at #19, “Move” by Adam Port, Stryv and Malachiii at #11 and finally, “Angel of My Dreams” by JADE at #10 thanks to a new version. I honestly can’t complain about much of that batch.

As for our top five, well, “BACKBONE” is at #1, we know that, but otherwise we see “Stargazing” by Myles Smith at #5, “Guess” by Charli xcx featuring Billie Eilish slip off the top to #4, “Good Luck, Babe!” by Chappell Roan at #3 and just pipped at the post once again is, also Billie Eilish, with “BIRDS OF A FEATHER” at #2. Now we have a small batch of new songs, but it seems we’ll actually be starting where we started and will be ending. If that wasn’t too convoluted.

New Entries

#72 - “Gunfinger (Salute)” - IRAH featuring Chase & Status

Produced by Chase & Status

So Chase & Status have naturally gotten an algorithmic push they didn’t really get before the massive success of “BACKBONE”, which has not only boosted their back catalogue but also this bubbling track they just produced with a feature credit for IRAH, an MC who hass worked with the two before, most notably on last year’s #5 hit “Baddadan”. I generally like the jump-up intensity of Chase & Status production, and “Gunfinger” feels pretty traditional with IRAH’s deep-voiced intimidation and the reggae sample starting off the song, later warping into a rolicking drum and bass clatter decorated with a sparse, windy atmosphere, stray vocal samples and an array of alarming synths. Whilst I appreciate the details in the drum fills and sound design here, there is a certain emptiness to this that really is evident from IRAH’s general incapability to make much of an impression, sticking to a pretty basic, unmoving delivery that could really do with being more energetic when the production is going to try and rally for minimal intensity over anything. It’s fine, I just wish there was something more to it.

#59 - “Why Why Why” - Shawn Mendes

Produced by Mike Sabath, Shawn Mendes, Eddie Benjamin and Scott Harris

The in-demand Mike Sabath seems to be the go-to for pop singer-songwriters who wish to go for a more serious and ambitious direction, since it worked so well with RAYE, and I can’t blame Shawn Mendes wanting that same level of control and detail given how much of his earlier output was nearly insufferably manufactured. A song like “Stitches” plays out much more like a Disney star’s song than the maturer side Mendes has been wanting to show since at least “In My Blood”, and whilst he has been hit-and-miss in that like he has his entire career, he at least has the dignity to not flail out into failed hyperpop experiments like the ex-partner who I have no doubts he’s still writing about because I know she is too. In this new comeback single, Mendes is constantly thinking of his ex-partner, waking up in a sweat having visions of her naked, and just asking… “why”.

So the song has a general focus on a hopeless state of mental health, but plants ideas without ever expanding on them: the anxiety he feels on tour, the over-dramatic relationship drama and feeling writer’s block all coalesce into that one hook of “I don’t know why”, over a more organic, reverb-drenched folk instrumental that feels very blatantly a trend-chase, even if it does make sense for the acoustic-focused Shawn Mendes to hop on the sound. The bridge makes the childlike confusion Mr. Mendes even more transparent: as soon as he thinks he can be a father, he getss the grounding realisation that he is still a child inside and sometimes even pleads with his mother for help, though does not seem to really do anything to help or prevent any of this? In fact, the only problem resolved is that he “chose himself” instead of his ex-partner, which may be telling that the only recurring problem in his life he can entirely dismiss is those close to him, as everything else described in the track is either cyclical or unresolved entirely, hence his clueless wandering through those underwritten choruses and wow, this is insufferable. For once, I think he knows, and that restless whining about problems is undoubtedly intended to be further frustrated by his refusal to, or maybe even no awareness to how he can, fix those issues. It’s just also not something I really care to hear from, well, anyone. It doesn’t display any temptation to fix his problems, the lyrics aren’t poetic in expressing such, and half of them are informed by his accessibility to experiences I simply cannot access. A self-obessed wobble or spiralling down through the woes that come with “more money, more problems” would be interesting if there was actually any clear progression or detail, but Mendes and co. seem much happier in just leaving the song as is: an unneeded yet unspecific venting session from a wildly successful musician wherein you’re left in the dust to core elements that could actually resonate, and justify the frankly dumb writing. This new lead single ultimately just shows a disconnect that isn’t particularly worth caring about, and I’m not even sure Shawn wants us to, given this sonically has “fulfilling my contract album” kind of written all over it. I’m sure this will be nice for the diehard fans, but to me, this is just useless.

#58 - “Active” - Asake and Travis Scott

Produced by Sarz and MIKE DEAN

Nigerian singer Asake, best known on the UK charts for “Lonely at the Top” and its recent single “Wave” with Central Cee, has released his newest record, Lungu Boy, which has landed on the UK albums chart at #15. I have yet to listen to that full album yet but Asake has impressed me before with their bright, melodious take on Afrobeats, and this new track is actually very interesting, using a sample of fellow NIgerian Jazzman Olofin’s “Raise da Roof” and cutting the vocal off into a stuttered riff against the almost 90s house groove that quickly tumbles into a tighter, minimal bass that feels so full in the mix, to the point where the cowbells and vocal loop end up kind of extraneous to just how good that bassline is. Asake’s melody seems somewhat out of place in his verse given how percussive the production is, but it plays off really interestingly off the busier drums in its second half, and that chorus is so simple yet worms its way into my head, especially when surrounded by the pitch-shifted vocal loop that is just as sticky. If I have a problem, it’s Travis Scott, who once again confuses laziness for being interesting, cutting off elements of his vocal take for no functioning reason other than sounding awkward and “different” for a few bars before quickly dipping into typical flows he has always used to flex vapidly and take me out of just how fun the song should be, though he quickly disappears after. Frankly, both artists do end up disappointing in the core part of the song, even if I have no expectations for Travis other than substanceless garbage nowadays (“fetish for the money”? Seriously?), as both fail to truly make the best use of the instrumental possible, I think becaue Travis is useless and Asake just needs more space to go for the melodic approach, and is given so in the outro, where that rushed vocal loop is placed against smooth, spacey keys that Asake can croon and riff off of. I wouldn’t be surprised if that beautiful section is what MIKE DEAN contributed to the beat, but even with that, it feels like it was tacked on to grant the song more depth than it needs, and I end up pretty much torn damn near 50-50 on it despite a great instrumental. Maybe this would just be better-served by other artists, and not even because of talent dsparity, just because the limitations of the production would fit more frenetic artists than two Auto-Tune crooners. Overall, I do think I’m teetering positively on it, but I wanted to enjoy it way more given what Sarz and DEAN cooked up.

#1 - “BACKBONE” - Chase & Status and Stormzy

Produced by Chase & Status

Now this is how to go for pure intensity: there’s a screeching lead synth, a heavily elevated build that relies not on the instrumental to gather its swell, as Stormzy is much more of a unique presence than IRAH, mostly due to his switches in flow and cadence that convince you on his smug flexes and macho posturing which is honestly mostly just dedicated to defying “you” - not the listener, but an imagined sense of authority to rebel against and insult. That kind of relentless energy in the content may not translate perfectly when he’s still flexing materialistically, but it’s easier than ever to ignore the less populist elements of Stormzy’s bars when the intensity is just this high. The spiralling synth in the build wires down into a canvas of thumping bass tones in the drop, with the drums jumping off of pitch-shifted vocal fragments and stretched backing strings propelling from the back of the mix. The song refuses to commit to a copy-paste structure, with Chase & Status adding great, small details like the break fill before the second verse, the brief but absolutely cavernous, industrial-sounding drums behind Stormzy prior to the final drop, and those horns bursting with not just bombast but a real sinister tone by the end that helps bring back some of the immersion. This is honestly a really simple song structurally, especially lyrically, but the execution is so powerful it trumps the need for anything all too complex, and that probably would have ruined its chances at #1 anyway. It’s exactly the kind of straightforward banger you’d expect the trio to make and whilst like “Guess”, the other likeably obnoxious, arguably garish EDM collaboration to debut unexpectedly at #1, I don’t see ths lasting too long at the very top, I’m sure it can find its space below, and whatever run it has doesn’t take away from that initial spark that gave the production duo a long-overdue reign on the singles chart they’ve called home for over a decade now.

Conclusion

This should be the easiest episode ever for you to figure out who gets what. Shawn Mendes takes the Worst of the Week for “Why Why Why”, “BACKBONE” by Chase & Status and Stormzy gets the Best of the Week, we’ll probably see the new Bruno and Gaga collab shake things up next week alongside Hozier and Post, but we’ll see. For now, thank you for reading, long live Cola Boyy and I’ll see you next week!

[mewnia]

at the very least I can draw my OC’s in pretty dresses…

[esuemmanuel]

Caía la tarde con el timbre de su voz cantándome canciones de cuna. Ella deseaba tanto que siguiera soñando, mas, no sabía que al hacer mi vida, también la soñaba. Me miraba a los ojos y me acariciaba la frente, dirigiendo sus dedos a mis labios; ahí, en ese lugar sagrado, me dejaba la huella de su ser en un beso, para luego esfumarse al tacto del rayo de Sol vespertino, el mismo que se colaba por la rendija de la ventana. El viento la ayudaba a volar, en tanto el firmamento bailaba. Antes de irse, me dijo, con esa voz suya; la misma que adornaba las mañanas de marea baja y brisa fastuosa: "Hoy te estoy amando Yo". ¿Cómo no iba a entregarme a su boca ni al susurro perenne que nacía de su garganta? Si le hablaba a mi alma como si no hubiera un mañana. Deseé tanto abrazarla a mi pecho, pero el viento se la llevaba, desvaneciéndola ante mi mirada, mientras yo suplicaba que se quedara. Su secreto era visitarme, vestida de sílfide divina, cubierta de estrellas diamantinas y un halo de luz que titilaba en Rosa. Se sentaba a mi lado, frente al piano y me tomaba las manos, para adornarlas con sus labios, en suaves besos perfumados; y me invitaba a tocarla. Y no solía poner resistencia cuando eso sucedía, ya que mis manos volaban a su encuentro, posándose en el marfil del piano como si de su piel se tratara. La sentía. Me impregnaba de su esencia, de su mágica presencia vestida de notas finas, en sonatas adormecidas, para no dejarla ir. La besaba con la música y el deseo ferviente de amarrarla con las fibras transparentes de mi alma, la misma que nacía al roce del marfil. Nos sumergíamos en una profunda ensoñación. Ella ardía en Rosa, mientras yo latía en Azul… y, como llamas majestuosas, en su ardor divino, nos hacíamos el amor. Se entrelazaba en mis manos, se fundía en mis brazos, haciendo del momento, el clima perfecto para no decirnos adiós. Envuelto en su esfera de luz amorosa, le cantaba al oído, la arropaba con el ropaje divino de mi devoción; de esa casta energía que emanaba de Mi Corazón.

The afternoon fell with the timbre of her voice singing lullabies to me. She wanted so much for me to keep dreaming, but she didn't know that by making my life, I was also dreaming her. She would look me in the eyes and caress my forehead, directing her fingers to my lips; there, in that sacred place, she would leave me the imprint of her being in a kiss, to then vanish at the touch of the evening sunbeam, the same one that slipped through the crack of the window. The wind helped her to fly, while the firmament danced. Before leaving, she told me, with that voice of hers; the same one that adorned the mornings of low tide and lavish breeze: "Today I am loving you". How could I not surrender myself to her mouth and to the perennial whisper that was born from her throat? If she spoke to my soul as if there was no tomorrow. I wanted so much to hug her to my chest, but the wind carried her away, fading her before my gaze, while I begged her to stay. Her secret was to visit me, dressed as a divine sylph, covered with diamond stars and a halo of light twinkling in Rose. She would sit next to me, in front of the piano and take my hands, to adorn them with her lips, in soft perfumed kisses; and she would invite me to touch her. And I used to put up no resistance when that happened, since my hands would fly to meet her, resting on the ivory of the piano as if it were her skin. I felt her. I would soak in her essence, her magical presence dressed in fine notes, in sleepy sonatas, so as not to let her go. I kissed her with music and the fervent desire to tie her with the transparent fibers of my soul, the same one that was born at the touch of ivory. We were submerged in a deep reverie. She burned in Rose, while I pulsed in Blue… and, like majestic flames, in their divine ardor, we made love to each other. She entwined herself in my hands, melted in my arms, making the moment, the perfect climate for not saying goodbye. Wrapped in her sphere of loving light, I sang in her ear, wrapped her in the divine garment of my devotion; of that chaste energy that emanated from My Heart.

— Esu Emmanuel©

[hey-imma-fangirl]

(Everything that is underlined is a link to YouTube to hear the characters)

Cuphead:

Charlotte from The Princess and the Frog

They not have way too much energy for any of the characters to handle- Besides their sister/bff

Mugma’am:

Princess Bubblegum from Adventure Time

I think Mugs and Bonnie have a lot in common personality wise and I think her voice suits Mugs

Devil:

Sherie Rene Scott/Ursula from The Little Mermaid (Broadway version)

Her voice reminds me of Show!Devil’s voice, only… y’know… Feminine; the way she hits the high notes too, they’re amazing

Queen Dice:

Ella Fitzgerald, a singer from the 1960s

The way she sings reminds me of how I think Dice would

Octavia Spencer; The latest movie I know she was in is Spirited

I just love her voice 🥰 and she also sounds a lot like how I think Dice would.

I dunno who’s your favorite?

Everette:

Adorabat from Moa Moa: Heroes of Pure Heart

Her screams are just so perfect, and listening to the voice with Everette in mind, there’s no question :]

Catbug from The Bravest Warriors

The voice fits them so well, and personally I think that it could be a good voice for a non-binary child’s voice like them

Who’s your favorite?

Chips Bettigan:

Kimiko Glenn/Dawn from Waitress: The Musical

Though her personality does not fit Chips’ character I think her voice suits Chips very well

Ms. Wheezy:

Carrie Compere/The Dragon from Shrek: The Musical

Though she doesn’t have a French accent, she does have that powerful voice that I think Ms. Wheezy has

Henchwoman:

Tina Russo from The Looney Tunes Show

Tina may have more of a laid back attitude than her, but I think Tina’s Brooklyn accent is perfect for Henchwoman

Stickler:

Velma from Scooby-Doo (specifically Trick or Treat Scooby-Doo!

I had a lot of trouble finding a voice for her for some reason, but I think Velma is the best fit- With the lisp at least- Yes specifically Velma from Trick or Treat Scooby-Doo! and you’ll see exactly why when you click on the video

[ars-matron]

The Last Sun Reread

Chapter 6: New Saints

In the evening Rune and Brand leave for the hospital. They take Brands motorcycle and Rune thinks over what he's learned so far. Not much, his suspects aren't over powerful or intelligent. He can't see how someone would just be able to get around the Tower's wards and protections.

They stop several blocks from the hospital and Rune heads to a nearby coffee shop. He drops a bunch of change before going in and squats down to pick it up, and Brand makes some comments about Rune's ass that he think is flattering but makes Rune uncomfortable. Rune gets his coffee and changes the subject.

He brings things around to speculating about motive and the ability to carry it out. He's asking the right questions.

"Here's another thing. Say they've hired muscle. Say Ella, or whoever, has hired a practitioner very skilled at magic or contracted with something skilled at magic. If this hired muscle has the power to break through Lord Tower's controls why the hell am I still alive.?"

Okay, I know I said I would try to hold back on the spoilers JUST IN CASE anyone reading this hasn't read them before. But screw it. Because I have been thinking about this for a while now.

He's alive because Ashton is, for the time being, controlling the lych, and Ashton, and more importantly whoever the hell he's working for, doesn't want Rune dead. If the end goal was Rune's death he would have died twenty years ago. His attackers wouldn't have worn masks AND contacts to make sure that Rune couldn't identify them.

Which brings me to my next question. What exactly was the end game of that night supposed to look like? Rune wasn't going to die, he wasn't even going to be abducted. They expected him to be able to go to the guarda and whoever for help. How was it supposed to end If Brand hadn't come to?

AND, back to the chapter.

Brand thinks they weren't trying to kill Rune, just sort of feel out how powerful he was, or how annoying he might be towards there plans. This is also probably true. But mostly I think they had other reasons for keeping him alive.

New Saints Hospital was once Riverside Hospital built in 1885 and once housed mental patients and the contagious, Typhoid Mary was there. Now it's a swanky hospital for Atlanteans. Rune can see the ghostly residue of the old hospital though. They get there, walk around for a bit, have a short conversation about Max's uncle that Rune says they'll talk about later, and then realize they have no clue where Christian is. So Brand goes off to ask a nurse or someone for help.

Enter Quinn!!! He gets Rune's attention. He psssts Rune from around the corner. He has cow-licked blond hair and is wearing a music festival shirt that is at least three sizes to big for him.

HE'S WEARING ADDAM'S SHIRTS!!! My heart!

"Can you come with me?" he asked. I said, "Probably not. Do I know you?"

Quinn tells him that he's, Quinn Saint Nicholas and that if they don't go somewhere else people will die, and then he runs off, so Rune follows, though he does release his sabre from it's wrist guard just in case it's a trap. They end up in a part of the hospital that is all columns and a large skylight. It's very bright and very white. Rune asks why they are there.

"We come here because this is the floor where we talk. Blond looks really-really red on it."

Rune of course thinks this is a threat. Then he starts talking to Quinn and for a moment thinks that he must not be all there in the head.

After they talk for a while though Rune realizes he knows Quinn's voice. He was the one who called the day before. He mentioned leaving the car running. Rune realizes he's a seer. Rune hates seers.

He thinks about the party, where he was a baby and drunk seer looked at him and said, "He will be the most beautiful man of his generation." and how everyone has been bringing that up ever since.

Around this time Brand realizes that Rune ran off, texts and when Rune calls to tell him he's fine, threatens to put a bell around Rune's neck. I'm surprised he hasn't tried those little toddler harnesses yet.

When he hangs up Quinn says, "That was Brand!"

"I miss Brand. He'll make me laugh. Why did you never try to kiss him a second time? is it because he pushed you into the water?"

Not a prophecy, because it was the past, but either way.

Then Quinn sees that Rune is mad that Quinn is delving into that sort of thing and he 'remembers' that Rune doesn't like seers.

"Then he burst into another delighted smile. "But you like me anyway. You kissed me on the eyebrow once. And you'll hit the bully with a bar stool after he calls me a freak. Or at least you do most of the time. Sometimes Addam grabs the stool first. Once I was very brave and kicked him in the shin myself."

I love him!

And this is where Rune realizes he's seeing probabilities. He is no longer concerned that Quinn might not be sane, or at least, not in the same way as before.

So he asks if Quinn can see where Addam is. He can't, but he's pretty sure that's what he needs to tell Rune. That is isn't a who, but a where they need to look into. Rune thinks about all the places that could mess up magic signals. Null zones, the Westlands, the convocation building.

"Anything to do with the anchorite's court. Now there was a mad fuck."

Can't wait until we learn more about that!!!

Quinn tries harder to see what could help them.

"I can only see a little. I think there are…ghosts. And a dried river. And a desert. I definitely see a desert filled with sand and broken glass. Ciaran will tell you more. He's waiting for you at the bar with the ice cubes. make sure you bring Max."

Rune is upset he has to deal with Ciaran, which, interesting. And he asks about Max. Quinn tells him it's what Matthias wants to be called. He reaches out to touch Quinn to help him focus, only his bare hand touches his neck on accident and power surges between them. Rune curses himself, hopes it did trigger anything and then….

"Oh gods oh gods oh gods, what is it? it's like a hole in reality. It will want to touch your face, because you are food to it, and then everything will start in the middle again, and oh oh oh oh there are storms, and there are waves as big as buildings, and we're all a school of fish trapped in a bottle, but none of this happens at once. And…and…and…"

Looking at this now, I'm wondering how much this has to do with the lych…"and then everything will start in the middle again" I have no clue lol

Right after this Quinn's nose starts to bleed and Rune can't get his attention again. So he take a tissue from Quinn's pocket that is already spattered with blood, and hands it to him carefully. Poor baby, gets so many nosebleeds he has to keep handkerchiefs on him.

Quinn's afraid that Rune is mad at him. Because sometimes when his nosebleeds it means he told someone something they didn't like. That Addam would always take him somewhere safe and stay with him until he was better. And he nearly cries when Rune says Addam sounds like a good brother. Then we get the truly sad part about Quinn knowing that the rest of his family don't like him. The ones who put with him only do so because Addam makes them.

"If Addam dies, I won't make it." "It'll be fine, Quinn." "You don't understand. It'll either be with a rope or in the bathtub. I don't know why I don't just steal Ella's sleeping pills. I'm much less scared of swallowing pills than I am of cutting myself. But all those times that Addam dies and leaves me, all I see are ropes and bathtubs."

Truly disturbing. Again. Poor baby.

"But..of all the way that Addam can be saved, it's you on the path."

Then he knows that Brand is on the way and they won't be able to talk alone anymore, and he asks Rune to not tell Brand he nearly cried.

Brand is indeed barreling down towards them, but Ashton is with him. Ashton is wearing a shiny silver shirt that matches his eyes, and truly terrible cologne, that Rune just thinks is fancy and in vogue because of how awful it smells. I see we were all traumatized by Abercrombie and Finch.

Ashton claims he was there to speak with Christian, unlikely. Rune says he could just as easily talk to Quinn. When he does, asking if anyone knows where Quinn is, Quinn says.

"Why don't I know why you're here?"

Why indeed? The lych? Did we figure this out and I forgot?

Brand thinks he's crazy and Rune asks what it means, but Quinn says it's too loud just before saying they are going to attacked, Rune has just enough time to try to impart that Quinn is a seer before grenades and bullets start raining down on them.

The battle starts, and Ashton does NOTHING to help. He gets shot and acts shocked. Quinn eventually gives Rune a sigil that has a door spell in it. He can't go through.

"But I can't go! I can't! I'll die! Every time, I die, because I'm not good enough to fight them and they're always there. And you can't stay here, because if you do you may die, which means Addam dies, and I need you to save him."

He tires to give it back but Quinn dodges him.

"A lot of times, you give it back. Go! Hurry!"

He directs Rune to take them under the hospital into the steam tunnels that used to heat the place. Before he finishes the spell for the door Quinn gets a nosebleed and says.

"They'll come for you, even down there, but you can run. You need to find Ciaran and let the ghosts eat first and run towards the people on the corner and leave the bug alone. And tell Addam I love him!"

Quinn passes out, his shield spell protecting him. Rune finishes door spell and Brand kicks Ashton through it and pulls Rune in after him.

Ashton is acting like a child and Brand tells him to calm down because they are still in trouble, which Ashton then threatens to have Brand whipped is ever touches Ashton again. Rune loses his cool.

"My vision went red. I grabbed Ashton's jaw before he could say anything else, and slammed him against the wall."

YEEEESSS!!! Kick his ass!

After Rune sets him right Ashton plays the wide eyed shocked card again, trying to see like he's surprised that someone had actually kidnapped Addam.

They make their way through the tunnels, Brand says that the people upstairs were using stun grenades and tranq darts (again, not trying to kill them), and eventually they do encounter another group of black dressed solders. Only to get a good look at them, they are recarnants. People who have been raised from the dead. They are obviously soldiers. A few have some pretty heavy guns.

There is more fighting, this time Ashton is playing around with dramatic moves that are showy, but really aren't effective in any way. Eventually they take them all out, Rune is able to use his shatter spell to disintegrate them in the end. Only to be bowled over by sickness as something else approaches. Something dark and massively powerful.

A larger, robed figure appears. "Thick with death magic"

"The world came loose. Literally loose. A huge bite of reality tore free around the man"

paces of crates, the floor, and dust from the fight lift up to spin around the figure, then he flings it at them. Rune gets pretty banged up, wire cutting his face, his smashed elbow. Then Brand throws himself on top of Rune to protect him. When it's over Rune wiggles free of the unconscious Brand to confront this figure.

"When he was near, I realized that he was dead. He was an it, a recarnate. A raised body. Which was not possible. A recarnate could not fling magic around like that."

It gets close to him and seems very interested in Rune. Asking, "what are you?" and saying he smells wonderful, like abasement. Brand is up, and throws Rune behind some shelter. He signals that he's going to use his most powerful spell to get this thing to go away, and Brand takes cover. The Lych notices too and pulls power itself. It holds up its arms as though it's about to surrender.

"It said, I love missed so much, if things such as you walk this world."

I know Rune has had a very terrible thing happen to him in the past. But he is far from the only person to ever experience such things. It was a lot, all at once, yes. But, there has to be something else about him if the lych is saying its never witnessed something like Rune before.

Instead of surrender, which was really too much to ask for, the lych pulls the parking garage above them down on their heads and disappears. And they run off before a car can crush them.

[jules-has-notes]

Road Trip — VoicePlay music video

The life of touring musicians can be stressful. Like anyone else in the midst of a long drive in a cramped vehicle, they can get on each other's nerves and argue over what music to play. With this dramatic comedic reenactment, VoicePlay gives their audience a peek inside the tour van. After years of performing this medley / theatrical sketch, they finally got a chance to record a professional video in a live setting during the 2014 Sing-Off tour.

Details:

title: Road Trip

original songs / performers: [1:30] "Tiptoe Through the Tulips" by Tiny Tim; [1:50] "Orinoco Flow" by Enya; [2:05] "Cum On Feel the Noize" by Quiet Riot; [3:12] "Big Shot" by Billy Joel; [3:24] "I Wanna Rock" by Twisted Sister; [3:33] "Voices Carry" by ’Til Tuesday; [3:50] "Shout" by Tears For Fears; [4:06] "Why Can't We Be Friends?" by War; [4:15] "That Smell" by Lynyrd Skynyrd; [5:10] "Hard to Say I'm Sorry" by Chicago; [6:34] "We Just Disagree" by Dave Mason; [6:54] "Royals" by Lorde

written by: "Tiptoe Through the Tulips" by Al Dubin & Joe Burke; "Orinoco Flow" by Eithne "Enya" Pádraigín Ní Bhraonáin & Roma Ryan; "Cum On Feel the Noize" by Noddy Holder & Jim Lea; "Big Shot" by Billy Joel; "I Wanna Rock" by Dee Snider; "Voices Carry" by Robert Holmes, Aimee Mann, Michael Hausman, & Joey Pesce; "Shout" by Roland Orzabal & Ian Stanley; "Why Can't We Be Friends?" by Papa Dee Allen, Harold Ray Brown, B.B. Dickerson, Lonnie Jordan, Charles Miller, Lee Oskar, Howard E. Scott, & Jerry Goldstein; "That Smell" by Allen Collins & Ronnie Van Zant; "Hard to Say I'm Sorry" by Peter Cetera & David Foster; "Royals" by Ella "Lorde" Yelich-O'Connor & Joel Little

arranged by: Geoff Castellucci

release date: 22 May 2014

My favorite bits:

Layne's deliberately-obnoxious-sibling energy when he re-locks the door the second time.

five grown men making vroom-vroom noises and other sound effects as part of their job

Tony singing ♫ "Why? Why? Why?" ♫ in annoyance instead of ♫ "wild, wild, wild" ♫, and his smug smile at cutting off Eli's accompaniment

Eli excitedly throwing the horns only to be met with Tony's completely unenthusiastic "rawk". 😒

Geoff's growl note as Eli's "shout"ing wakes him up

Eli watch the rooOAAAD!!!

professional singers using their talents to set up and deliver an elaborate fart joke (I am completely serious. It's magnificent.)

Earl's adorable muppet snoring 💤 , and his bashful expression as he apologizes

Tony wiping the pretend aerosol spray off his face (whatever it may be… air freshener? hairspray? breath freshener? floor wax? dessert topping?)

the pitch pipe / seat belt alarm gag — such a clever way to reset after the evacuation interlude

and, of course, Layne's incredible solo

Trivia:

Layne sometimes changes the song he busts out at the end in an attempt to make the other guys laugh and break character. I've found audience recordings where he goes with "Baby" by Justin Bieber, "Hello" by Adele, and "Let It Go" from Frozen.

VoicePlay have been performing and refining this medley / skit since their 4:2:Five days. The earliest full version I've found is from 2010, with Ryan and Danny in the front seats, but an even earlier clip appeared in their 2009 promo video.

They did make an in-studio version with a real car in 2013. It's currently only available through their Patreon.