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miserablesme · 3 years ago

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The Les Miserables Changelog Part 3: 1987 Broadway Production

Hello, everyone! This is the latest edition in my attempt to chronicle all of the musical and lyrical changes which the show Les Miserables has undergone over the years. This time, we're going through all the changes between the musical as it existed on the West End around 1985-1986 and the revised libretto for the 1987 Broadway production.

In some ways, this is a much easier changelog to compile than the last two simply because it is much easier to find audio evidence of the show from this era than from its pre-1987 self. We have a full soundboard of the original Broadway cast as well as a very good quality bootleg of the very first Broadway preview, as well as several audios from the next few years which use exactly the same script. We also have an officially released Symphonic Soundtrack which almost (but not quite) follows this version of the libretto exactly. So no more relying on unclear bootlegs and speculation to figure out what was changed when!

Having said that, the changes in this production were MASSIVE. It's almost certainly the most extensive edit the show's libretto has received to this day. As such, this will be a very long edition of this blog. So make sure you have a bit of time on your hands before reading it! With all that cleared up, let's begin.

The first change literally can be heard as soon as the musical begins. The pre-Broadway show opens up with the same recurring motif also heard, for instance, at the openings of "At the End of the Day" and "One Day More". This music then transitioned to the instrumentals to the opening "Work Song". The post-Broadway libretto cuts right to the chase, with the opening instrumentals to the "Work Song" starting right up without any preamble.

One interesting little non-scripted change occurs later in the "Work Song", but only in American productions. For whatever reason, every American Javert from the original Broadway cast until the first Broadway revival sang "And I am Javert" instead of "And I'm Javert", for reasons that honestly baffle me. Again, the libretto retained the original contraption as far as I'm aware, and the West End production as well as later UK and Australian tours still used it as well.

The next change happens while Valjean is on parole. After Valjean pleads against the farmer underpaying him, this was the farmer's original response:

Do you believe

A yellow ticket of leave

Allows a criminal like you to earn full screw?

Since Broadway, his response is instead as follows:

You broke the law

It's there for people to see

Why should you get the same as honest men like me?

I much prefer this revised version. Though the information is essentially the same, it feels more dramatic, as well as feeling less awkward now that it is in the form of separate sentences as opposed to a single sentence spoken in three lines with pauses in between. Moreover, the phrase "honest men like me" as used here provides interesting foreshadowing for its more well-known usage in "Master of the House". One could spend quite some time analysing the implications of this recurring description, but this blog is long enough as it is so now isn't the time!

In the same number, originally the innkeeper's wife had the following remark:

My rooms are full

And I've no supper to spare

I'd like to help you really, all I want is to be fair

Since Broadway, her line has been slightly modified:

My rooms are full

And I've no supper to spare

I'd like to help a stranger, all we want is to be fair

I suppose "I'd like to help a stranger" sounds less slang-y than "help you really". Presumably this is why it was changed. I find the change of subject from singular to plural far more interesting. My hypothesis is that the writers wanted to make it clear than this is a communal grudge, not a personal one. Everyone around sees it as perfectly fair to deny shelter to a former convict, not just this one individual. I definitely prefer the revised line, but evidently the producers of the West End production didn't; that production held on to the original lyrics for more than a decade after they were originally revised! More on that in a later edition of this blog...

A more minor change can be heard during "At the End of the Day". Originally, Valjean asks the factor workers "What is this shouting all about?" The Broadway script changes this to "What is this fighting all about?" Much less trivial implications now. I'm curious as to whether or not a staging change may have accompanied this. Usually the two workers get into quite a bit of physical scuffle by this point, far beyond the realm of shouting. Did the original pre-Broadway production use more subdued choreography?

"The Runaway Cart" has some noticeable differences. After Valjean asks the townspeople for help, the original response was sung by the entire ensemble, and went as follows:

(SOLO)

Don't go near him, Monsieur Mayor

There's nothing at all you can do

(ENSEMBLE)

The old man is a goner for sure

Leave him alone

The Broadway libretto revised this into a sequence sung by one individual at a time with the following lyrics:

Don't go near him, Monsieur Mayor

The load is as heavy as hell

The old man is a goner for sure

It will kill you as well

A female ensemble member sung "The old man is a goner for sure" while a male member sung the rest. I sort of like it better as an ensemble piece (something that would be largely brought back in later years, as I'll soon discuss) although I think it's cool that it rhymes now. Having said that, I'm fairly confident that no one in the real world has ever actually used the phrase "Heavy as hell"!

An official change in the libretto occurred in "Who Am I?" but listeners to the original Broadway cast would not have heard it. While the pre-Broadway show had Valjean refer to "This innocent who bears my face", the revised libretto instead refers to "This innocent who wears my face". Perhaps a means of avoiding repetition, given that the word "bear" is used again later in the number? Regardless, Colm Wilkinson didn't actually bother to adapt to this change! He still sings "This innocent who bears my face" in the Broadway production (as well as the tenth anniversary concert; not until his 1998 stint in Toronto did he ever start singing the revised lyrics). Since every future Valjean (except Ivan Rutherford for some reason) sings "wears", I still see it as appropriate to mention here.

At the end of the song, Valjean's "You know where to find me!", used on and off in the Barbican previews before becoming a settled part of the production by the final pre-Broadway libretto, is once again removed for the Broadway show. However, the West End production would keep it for a few years - more on that later...

Just listening to the original Broadway cast, one might think Javert's "Dare you talk to me of crime?" becomes "Dare you speak to me of crime?" However, this seems to be a Terrence Mann-exclusive change. Every Javert after him reverts to the original lyrics (as did Terrence himself when he returned to the musical fifteen years later). I'm still making note of the change here for the sake of clarification.

An instrumental change occurs between "Castle on a Cloud" and "Master of the House". Mme. Thenardier's "You heard me ask for something and I never ask twice" was original followed by three bars of notes, then by six more bars of notes that are identical to each other. After the Broadway production, however, those six bars of notes grow increasingly more dramatic as they go on.

A very slight change happens during the preamble to "Master of the House". Originally one of the guests proclaims "Hell, what a wine" while the revised libretto instead has him claim "God, what a wine". Definitely more natural in my opinion, though not a huge difference by any means.

A few subtle differences exist in the "Waltz of Treachery" number. First off, Thenardier originally asks "Have we done for your child what is best?" The Broadway libretto changes "your child" to "her child". I personally like the original lyric better, as it goes back to the idea established earlier that Valjean is metaphorically bargaining through the spirit of Fantine. It's definitely not a difference that makes or breaks the number, though.

Towards the end of the song comes another change that cannot actually be heard by listening to the original Broadway cast. In the pre-Broadway show, Valjean used the line "Let us seek out a friendlier sky", while the revised libretto has him say "Let us seek out some friendlier sky". However, Colm Wilkinson once again doesn't bother to adapt to the change, and unlike the "Who Am I?" change he wouldn't learn it over time either. He continues to sing "a friendlier sky" throughout his on-and-off performances as Valjean, right up to and including his 2002 run in Shanghai!

After the bulk of the number comes a more significant change. Prior to the Broadway production, as was discussed in the last entry, the "Waltz of Treachery" was followed by about forty-five seconds of vamping and then this exchange in the tune of "Castle on a Cloud":

(LITTLE COSETTE)

We're going home right now, monsieur

What is your name

(VALJEAN)

Now my dear

I've names enough, I've got names to spare

But where I go, you always will be there

Nor will you be afraid again

There is a sun that's shining yet

(LITTLE COSETTE)

I'm going to call you my Papa

(VALJEAN)

I'm going to call you my Cosette

The Broadway libretto replaced it with just under twenty seconds of vamping, followed by a sequence in the tune of the "Waltz of Treachery":

(VALJEAN)

Come Cosette

Come my dear

From now on I will always be here

Where I go

You will be

(LITTLE COSETTE)

Will there be children

And castles to see?

(VALJEAN)

Yes, Cosette

Yes it's true

There's a castle just waiting for you

This is followed by another fifteen or so seconds of vamping, and then the humming duet between Cosette and Valjean carries on as before.

Arguably the biggest change in the entire edited libretto happens now. Whereas the number was originally directly followed by "Stars", things have been moved around so that it instead transitions directly into "Look Down". "Look Down" itself receives a lot of adjustments. First off, the number began in the pre-Broadway musical with a bar of music that was then repeated. The Broadway version only plays the bar of music once, and the sung part happens immediately afterwards.

Gavroche's verse receives some lyrical updates. Originally it used the following lines:

This is my school, my high society

From St. Denis to St Michel

We live on crumbs of humble piety

Tough on the teeth, but what the hell?

If you're poor, if you're free

Follow me, follow me!

The Broadway production rewrote that sequence a little:

This is my school, my high society

Here in the slums of St Michel

We live on crumbs of humble piety

Tough on the teeth, but what the hell?

Think you're poor? Think you're free?

Follow me, follow me!

Better lines in my humble opinion; "slums" conveys the poverty of Gavroche's community much more effectively than the original line, and phrasing the "poor" and "free" lines as questions is more dramatic than their original statement form.

The old beggar woman's original "You give 'em all the pox" becomes the less grammatically accurate "Give 'em all the pox" for Broadway, though I have no idea if the original "You" was part of the libretto or simply an improvisation. Since seemingly all actresses used that line for the first few years of the West End production, it strikes me as warranting a mention.

Right after this comes another change. In the pre-Broadway show, the argument between the beggar woman and the prostitute was followed by an exchange by a few individual beggars. All of the following lines were said by one person at a time, the first three being said by female beggars and the last one by a male beggar:

When's it gonna end?

When're we gonna live?

Something's gotta happen, dearie

Something's gotta give

The Broadway libretto changes this to an ensemble piece performed by all the beggars simultaneously:

When's it gonna end?

When're we gonna live?

Something's gotta happen now or

Something's gotta give

I really like the switch to a group effort, as it really emphasizes that the beggars are a community sharing the burden of poverty. It really feels like an epidemic to an extent that it doesn't when it's just a small conversation. Evidently the producers of the West End show didn't agree with me though, as they held onto the original sequence for more than a decade after the official change, and by that point it had already been largely reverted worldwide! More on that in a later blog...

Originally, the exposition about General Lamarque was given by a few random students (supposedly not specified in the libretto, but in practice portrayed as Combeferre and Feuilly). Some ensemble dialogue between beggars was put in between. Feuilly sings over the end of the ensemble's lines - but many have speculated that this was not intended by the writers, as the background music sounds super out of sync with his singing! Here's how the scene went:

(COMBEFERRE)

As for the leaders of the land

As for the swells who run this show

Only one man and that's Lamarque

Speaks for the people here below

(BEGGARS)

Something for a meal

Something for a doss

Something in the name of Him who died upon the cross

On the cross, come across

On the cross, come across, come across

(FEUILLY)

Lamarque is ill and fading fast

Won't last the week out, so they say

With all the anger in the land

How long before the judgement day?

Before we cut the fat ones down to size?

Before the barricades arise?

Fortunately, the writers of the Broadway libretto had the sense to change the purveyors of the message into people actually relevant to the show's plot, namely Marius and Enjolras. Moreover, the beggars' dialog was rewritten into a sequence that feels far less clunky to me. The background music was fixed to account for the solo singing (now done by Marius) overlapping the beggars' lines, so it is now perfectly in sync. Here's the edited exchange:

(ENJOLRAS)

Where are the leaders of the land?

Where are the swells who run this show?

(MARIUS)

Only one man and that's Lamarque

Speaks for the people here below

(BEGGARS)

See our children fed

Help us in our shame

Something for a crust of bread in Holy Jesus' name

(SOLO BEGGAR)

In the Lord's holy name

(BEGGARS)

In His name, in His name, in His name

(MARIUS)

Lamarque is ill and fading fast

Won't last the week out, so they say

(ENJOLRAS)

With all the anger in the land

How long before the judgement day?

Before we cut the fat ones down to size?

Before the barricades arise?

Much better in my opinion! It should be noted that David Bryant instead sings "these people here below", but as far as I can tell every future Marius (or later Enjolras - more on that later) sings "the people, which is the actually phrasing in the libretto.

One final change in Look Down: Gavroche now says that all of Thenardier's family is "on the make", as opposed to the original "on the take". A rather pointless change in my book, though it certainly doesn't hurt anything.

"The Robbery" is another heavily edited number. Thenardier's line after acknowledging Brujon, Babet, and Claquesous was originally as follows:

You Montparnasse, watch for the p'lice

With Eponine, take care

You've got all the hash, I've got all the cash

The Broadway show rewrote those lines into their still-current form:

You Montparnasse, watch for the law

With Eponine, take care

You turn on the tears, no mistakes my dears!

This changed lyric more naturally transitions the scene into the gang's actual plan, though the original is an interesting continuation of Gavroche's recollection of Thenardier once running a hash house.

Mme. Thenardier's response is also altered from the original lyrics:

Here come a student from our street

One of 'Ponine's peculiar gents

Our Eponine would kiss his feet

She never showed a bit of sense

Into the current ones:

These bloody students on our street

Here they come slumming once again

Our Eponine would kiss their feet

She never showed a scrap of brain

It's interesting how the edit shifts the focus from Marius in particular to the students in general. It seems that Mme. Thenardier is less aware of the specifics of her daughter's personal life now, something that makes sense for her character.

After Mme. Thenardier's "You'll be in the clear", there was originally just eighteen seconds of a musical motif (the same one which opens "At the End of the Day" and "One Day More") followed by Thenardier's speech. Since Broadway, it's instead been followed by a few more lines of dialogue:

(MARIUS)

Who is that man

(EPONINE)

Leave me alone!

(MARIUS)

Why is here?

Hey Eponine!

Only now does the musical motif play. But instead of staying silent upon seeing Cosette, Marius now sings "I didn't see you there, forgive me..." Interestingly, in this video of a 1987 performance of the original West End production, Marius just stops without bumping into Cosette as he usually does. This makes me wonder whether or not the bumping was added into the Broadway version, and the lyric was added to accomodate for the blocking change. Of course, this is all speculation; I have no way to know for sure.

Thenardier's con job is also quite a bit different post-Broadway. Originally it used the following lyrics:

How you do? Spare a sou

God will see all the good that you do

Look monsieur, lost a leg

Hero of Waterloo now has to beg

Wait a bit, know that face...

The Broadway libretto edited it into its current form:

Please monsieur, come this way

Here's a child that ain't eaten today

Save a life, spare a sou

God rewards all the good that you do

Wait a bit, know that face...

It's interesting how Thenardier's facade shifts in focus from his own supposed hardship to that of an alleged child. I suppose the latter would be a good bit more effective in convincing passersby to donate!

During "Javert's Intervention", Thenardier now says "It was me that told you so, as opposed to the original "Wot told you so"; however, this seems to be a regional choice to account for a lack of Cockney accent, not an official libretto change. British productions retain the original "Wot".

“The Robbery” ends quite differently. Its pre-Broadway form had Gavroche’s remarks directly follow Javert’s “Clear this garbage off the street!” However, now Javert’s line is instead followed by some instrumentals to a slower version of the same tune as, for instance, “Honest work/Just reward/That’s the way to please the lord” and “He will bend/He will break/This time there is no mistake”.

After these instrumentals come the “Stars” number, now in a much more natural location given that Javert now has a logical reason to be thinking about Valjean!

The number itself is mostly the same, up until the final segment. After Javert’s “Those who falter and those who fall must pay the price”, he originally had the following lyrics:

Scarce to be counted

Changing the chaos

To order and light

You are the sentinels

Silent and sure

Keeping watch in the night

The post-Broadway show replaced this with a much more climactic remark:

Lord let me find him

That I may see him

Safe behind bars

I will never rest ‘til then

This I swear

This is swear by the stars

WOW, what an improvement! Now the stars are tied much better to Valjean himself, and Javert’s motivation is much clearer!

Now that “Stars” is over, we finally get Gavroche's remarks. The lyrics are the same; however, instead of the tempo progressively getting faster as it goes along, it now gets progressively slower. Interestingly the audio of the first preview has Gavroche saying "mother dear" instead of "auntie dear", but it's back to the original line by the second known original Broadway cast audio. Both audio feature Braden Danner; whether the "mother dear" was a choice on his part or a director's, a flub, or a libretto change that was later reverted is unknown.

"Eponine's Errand" has some significant changes. First off, the original libretto gave Marius and Eponine this exchange:

(MARIUS)

Did you see that lovely girl

(EPONINE)

A lovely two-a-penny thing

The Broadway libretto edited it a little:

(MARIUS)

Eponine, who was that girl?

(EPONINE)

Some bourgeois two-a-penny thing

Marius' request has also been changed from its original lyrics:

Eponine, do this for me

But careful how you go

Your father mustn't know

He'll strike another blow

'Ponine, I'm lost until she's found

Into some far clearer and more direct instructions:

Eponine, do this for me

Discover where she lives

But careful how you go

Don't let your father know

'Ponine, I'm lost until she's found

And yes, the line was "your father" right from day one. Michael Ball flubs it as "her father" on the complete symphonic recording, leading many to assume that was the original lyric which was changed later. But I'm not aware of a single live performance to use that lyric (which doesn't make a lot of sense anyway).

Another side note: Some Marius actors have very slightly changed the third line to "Be careful how you go" or "But careful as you go", though neither lyric is the standard.

Post-Broadway, as the instrumentals to "Red and Black" play, a student (I'm not sure which one) now shouts Enjolras' name before the singing begins.

During "Red and Black", Michael Maguire changes the original "It is easy to sit here and swat 'em like flies" to "Oh, it's easy to sit here and swat 'em like flies". However, this is an individual choice of the actor, not an official libretto change. Every future Enjolras I'm aware of (except Ramin Karimloo for some reason) uses the original line.

An actual libretto change occurs soon afterwards. After Marius' entrance, Grantaire originally asks, "Marius, what's wrong with you today?" The post-Broadway show changes this to "Marius, you're late. What's wrong today?" This makes it much clearer why Grantaire might suspect something is wrong.

Soon afterwards, Grantaire's original line "We talk of battles to be won, and here he comes like Don Juan" is slightly tweaked to "You talk of battles to be won". This is a little more appropriate, since Grantaire isn't actually doing a lot of talking!

After "Red and Black", Gavroche's part is very slightly changed. First off, American performances for a few years would have Gavroche whistle right before everyone quiets down, though I have no idea if this was in the libretto or not.

Secondly, Gavroche's original remark, "It's General Lamarque! He's dead!" is shortened to just "General Lamarque is dead!"

In another contender for the biggest change in the entire edit, the entire "I Saw Him Once" number is totally removed. I have mixed feelings about this. It does give Cosette, a frustratingly underwritten character, some additional content. However, stylistically it's not all that much like any other number in the musical, and it doesn't really add enough information to the show to warrant a whole song. So I say with regret that it was probably for the best to delete the number.

To compensate for the lost number, "In My Life" is lengthened to include the establishing character moments that "I Saw Him Once" originally did. Originally it opened as follows:

(COSETTE)

Dearest papa, can I tell him of this?

How can I tell him the things that I feel?

How could he understand?

(VALJEAN)

Dear Cosette, you're such a lonely child...

The post-Broadway opener is instead as follows:

(COSETTE)

How strange, this feeling that my life's begun at last

This change, can people really fall in love so fast?

What's the matter with you Cosette?

Have you been to much on your own?

So many things unclear

So many things unknown

In my life

There are so many questions and answers

That somehow seem wrong

In my life

There are times when I catch in the silence

The sigh of a faraway song

And it sings of a world that I long to see

Out of reach, just a whisper away, waiting for me

Does he know I'm alive? Do I know if he's real?

Does he see what I see? Does he feel what I feel?

In my life

I'm no longer alone

Now the love in my life is so near

Find me now, find me here

(VALJEAN)

Dear Cosette, you're such a lonely child...

After Valjean gives Cosette his cryptic defense of his secrecy, Cosette had a remark that is sadly incredibly hard to understand in the quality of the recordings we have. It apparently went something like this:

There are voices I hear

That come into my mind

Full of noise, full of fear

When the noise was unkind

In my life

I'm no longer afraid

And I yearn for the truth that you know

Of the years, years ago

Her post-Broadway response is much shorter:

In my life

I'm no longer a child

And I yearn for the truth that you know

Of the years, years ago

Shorter, but just as effective in my book. Plus, the use of the word "child" nicely ties into Valjean's initial remark that Cosette is "such a lonely child", as well as Cosette's frustration that he still sees her as "a child who is lost in the woods".

The next number, "A Heart Full of Love", also has a LOT of rewritten lyrics. First of all, after Marius' "I do not even know your name", these are his original lyrics:

Dear mademoiselle

I am lost in your spell

The Broadway production changed the lyrics into:

Dear mademoiselle

Won't you say? Will you tell?

I suppose this fits a little better with his remark about not knowing Cosette's name.

After Marius and Cosette finally learn each other's names (an important step in a relationship if you ask me!) this was their original way of showing their affection:

(MARIUS)

Cosette, your name is like a song

(COSETTE)

My song is you

(MARIUS)

Is it true?

(COSETTE)

Yes, it's true

The Broadway production rewrote it into the following:

(MARIUS)

Cosette, I don't know what to say

(COSETTE)

Then make no sound

(MARIUS)

I am lost

(COSETTE)

I am found

In my opinion, the rewrite captures the slight awkwardness of young love much better, as well as making a lot more sense!

Immediately afterwards, this is the original exchange:

(MARIUS and COSETTE)

A heart full of love

A heart full of you

(MARIUS)

The words are foolish but they're true

Cosette, Cosette

What were we dreaming when we met?

(COSETTE)

I can sing

(MARIUS)

Dear Cosette

(COSETTE)

A heart full of love...

The Broadway libretto redoes the scene as the following:

(MARIUS)

A heart full of love

(COSETTE)

A night bright as day

(MARIUS)

And you must never go away

Cosette, Cosette

(COSETTE)

This is a chain we'll never break

(MARIUS)

Do I dream?

(COSETTE)

I'm awake

(MARIUS)

A heart full of love...

Almost a totally different scene! The post-Broadway variant is better structured, but I do like the original too.

As the trio of Marius, Cosette, and Eponine exchanges inner monologues, Marius originally has the line "I saw her waiting and I knew". The Broadway libretto changed this to "A single look and then I knew". I kind of prefer the original, as it implies a little more than something as trivial as a cursory glance.

In the closing lyrical overlap of the song, Cosette originally sings "Waiting for you", but post-Broadway she sings "I knew it too". Then, she originally sings "At your call" but post-Broadway she sings "Every day".

During the opening to "The Attack on Rue Plumet", Montparnasse refers to Valjean as "the one that got away the other day" as opposed to his original "the bloke wot got away the other day". However, this is another regional change made for the sake of making sense outside of a cockney accent. The official libretto still had the original lyrics.

A tiny change occurs during Thenardier and Eponine's fight. Claquesous originally thinks it's a palaver and an absolute treat "to watch a cat and its father" picking a bone in the street. The Broadway libretto changed this to "see a cat and a father". Why exactly the writers felt the need to make such a miniscule edit is mystifying to me, but it certainly doesn't hurt anything.

Another change occurs later in the number, after Eponine's scream. Originally this was Thenardier's reaction:

Make for the sewers, don't wait around

Leave her to me, go underground

You wait my girl, you'll rue this night

I'll make you scream, you'll scream alright!

These lines were mixed up a bit for the Broadway libretto:

You wait my girl, you'll rue this night

I'll make you scream, you'll scream alright!

Leave her to me, don't wait around

Make for the sewers, go underground

The post-Broadway variation arguably is a bit less climactic due to it not ending on a threat. However, the original climax isn't all that appropriate since Eponine and Thenardier never actually interact at any later point in the musical. I like that the post-Broadway version ends on something that's actually relevant to the remainder of the show (namely, that Thenardier will be in the sewers). Evidently the West End producers didn't agree with me; this is another line in which the original was kept there for more than a decade (at which point a rewrite closer to the original was already being used worldwide)!

In "One Day More", Javert's "One day more to revolution" is slightly changed to "One more day to revolution". However, the number is otherwise unchanged.

And that's it for Act One! The opening barricade scene to act two has a small change. Grantaire's pre-Broadway "Some will bark, some will bite" was changed to "Dogs will bark, fleas will bite". Makes a lot more sense in my opinion!

The opening to "On My Own" is changed as well. Originally it was performed as follows:

And now I'm all alone again

Nowhere to go, no one to turn to

I did not want your money sir

I came out here 'cause I was told to

The Broadway version rewrote it into the following:

And now I'm alone again

Nowhere to turn, no one to go to

Without a home, without a friend

Without a face to say hello to

A huge improvement in my book. It actually rhymes now, and is far less likely to be misconstrued as ungrateful.

After receiving a massive overhaul not that long before, "Little People" was slightly tweaked for the Broadway show. The pre-Broadway version had this ending:

So never kick a dog

Because he’s just a pup

You’d better run for cover when the pup grows up!

Another line (taken from the original longer version of "Little People" as well as all versions of its reprise) was added for the post-Broadway show:

So never kick a dog

Because he’s just a pup

We'll fight like twenty armies and we won't give up

So you’d better run for cover when the pup grows up!

Grantaire's line afterwards is literally reversed in meaning from the original "Better far to die a schoolboy than a policeman and a spy!" into "What's the difference? Die a schoolboy, die a policeman, die a spy!" This post-Broadway lyric fits better into Grantaire's cynical personality.

A very subtle edit is made in "Little Fall of Rain" (to the point that I only just realized its existence by reading an old internet forum!) Pre-Broadway, Marius asks Eponine "Did you see my beloved?" The tense is changed from past to present perfect for the Broadway libretto, so that he now sings "Have you seen my beloved?"

"Drink with Me" receives quite a bit of editing. The opening few lines are originally all sung by Grantaire:

Drink with me to days gone by

Sing with me the songs we knew

Here's to pretty girls who went to our heads

Here's to witty girls who went to our beds

Here's to them and here's to you

Now, those lyrics are split between various students:

(FEUILLY)

Drink with me to days gone by

Sing with me the songs we knew

(PROUVAIRE)

Here's to pretty girls who went to our heads

(JOLY)

Here's to witty girls who went to our beds

(ALL STUDENTS)

Here's to them and here's to you

A far more touching scene now that it entails an entire group of friends reminiscing about their lives, as opposed to the thoughts of one heavily drunk individual.

Originally this was followed by a segment by the male ensemble:

Drink with me to days gone by

To the life that used to be

At the shrine of friendship never say die

Let the wine of friendship never run dry

Then, this was followed by the same lyrics, but sung by the male and female ensembles overlapping. The Broadway libretto removes that and replaces it with an all-new segment with Grantaire. It's much more cynical and philosophical than his original lines:

Drink with me to days gone by

Can it be you fear to die?

Will the world remember you when you fall?

Could it be your death means nothing at all?

Is you life just one more lie?

The lyrics from the pre-Broadway show, in their male-and-female overlapping form, are played afterwards.

The next change occurs during the Second Attack. Pre-Broadway, this was how the opening lyrics went:

(ENJOLRAS)

How do we stand, Feuilly make your report

(FEUILLY)

We've guns enough but bullets running short

(MARIUS)

Let me go into the street

There are bodies all around

Ammunition to be had

Lots of bullets to be found

Some very small edits were made for Broadway:

(ENJOLRAS)

How do we stand, Feuilly make your report

(FEUILLY)

We've guns enough but ammunition short

(MARIUS)

I will go into the street

There are bodies all around

Ammunition to be had

Lots of bullets to be found

The following exchange also is a bit edited. Here's how it went pre-Broadway:

(ENJOLRAS)

I can't let you go, it's too much of a chance

(MARIUS)

And the same can be said for any man here

(VALJEAN)

Let me go in his place, he's no more than a boy

I am old and alone and have nothing to fear

Post-Broadway, it instead goes as follows:

(ENJOLRAS)

I can't let you go, it's too much of a chance

(MARIUS)

And the same is true for any man here

(VALJEAN)

Let me go, he's no more than a boy

I am old, I have nothing to fear

Finally, Gavroche's final lines are as follows pre-Broadway:

So never kick a dog

Because he’s just a pup

You’d better run for cover when the pup grows up

And we’ll fight like twenty armies and we won’t give…

A small edit is made for the Broadway production, so that the latter two lines are reversed:

So never kick a dog

Because he’s just a pup

We’ll fight like twenty armies and we won’t give up

So you’d better run for cover when the pup grows...

I'd say this is an improvement, since Gavroche's death is all the more impactful when his literal last unfinished words are about growing up.

Not long afterwards comes the Final Battle. Leading up to Enjolras' climactic moment, the original lines went as follows:

(ENJOLRAS)

Come on my friends, though we stand here alone

Let us go to our deaths with our face to our foes

(COMBEFERRE)

Let 'em pay for each death with a death of their own

(COURFEYRAC)

If they get me, by God, they will pay through the nose

(ENJOLRAS)

Let others rise to take our place

Until the earth is free

The sequence was edited for Broadway, giving a bit more breathing space:

(ENJOLRAS)

Let us die facing our foes

Make them bleed while they can

(COMBEFERRE)

Make them pay through the nose

(COURFEYRAC)

Make them pay for every man

(ENJOLRAS)

Let others rise to take our place

Until the earth is free

"Dog Eats Dog" is a very heavily-edited number. First off, the vamping at the beginning originally lasts about 30 seconds. By Broadway, it has been reduced to about nineteen seconds.

After Thenardier's "As a service to the town" line, he originally sung the following lines:

It's a world where the dogs eat the dogs

And the worst is as good as the best

It's a stinking great sewer that's crawling with rats

And one rat is as good as the rest

I raise my eyes to see the heavens

And only the moon looks down

That entire sequence was cut for Broadway.

Soon afterwards, Thenardier originally proclaims "Here's a little toy". The Broadway edit changes it to "Here's another toy", perhaps to make it seem less repetitive after his "pretty little thing" line.

The exact same lines from after "As a service to the town" are repeated in the pre-Broadway number after Thenardier's "When the gutters run with blood" line, with one more line added afterwards:

It's a world where the dogs eat the dogs

And the worst is as good as the best

It's a stinking great sewer that's crawling with rats

And one rat is as good as the rest

I raise my eyes to see the heavens

And only the moon looks down

The harvest moon shines down

Unlike the first instance of those lines, they aren't completely excised for Broadway. They are, however, significantly rewritten:

It's a world where the dogs eat the dogs

And they kill for the bones in the street

And God in His heavens, He don't interfere

'Cause He's dead as the stiffs at my feet

I raise my eyes to see the heavens

And only the moon looks down

The harvest moon shines down

I really like how the edited version focuses more on godlessness than on how gross the sewer is. Not that a lack of a god is inherently sinister; I am quite agnostic myself and I think the unbreakable connection between religion and morality alleged by some is ridiculous. But it is blatantly obvious that Thenardier sees no reason to be moral provided no one will punish him.

As a side note, the 1985 London official soundtrack oddly uses this variant, yet the 1986 bootleg audio I have uses the original. Perhaps the original was experimented with, reverted, and later put in again? Who knows...

After the number, Thenardier now shouts Valjean's name.

The encounter in the sewers between Valjean and Javert originally ended as follows, with Javert's first two lines here in a tune not heard anywhere else in the musical to my recollection:

(VALJEAN)

Come, time is running short

(JAVERT)

Go take him, I'll be waiting at the door

I've never met a man like you before

A man such as you

The sequence was extended for the Broadway libretto, to the tune of "Look Down" and the "Work Song":

(VALJEAN)

Come, time is running short

Look down, Javert

He's standing in his grave

(VALJEAN - simultaneously with the next two lines)

Give way, Javert

There is a life to save

(JAVERT - simultaneously with the previous two lines)

Take him, Valjean

Before I change my mind

(JAVERT)

I will be waiting, 24601

A slight change can be heard in "Every Day". Originally Marius sings that he and Cosette will "remember that night and the song that we sang". The Broadway libretto edited this into the decidedly less medium-aware "remember that night and the vow that we made".

"Valjean's Confession" has been reworked to the point that it can scarcely even be considered the same song. After Valjean's "There's something now that must be done", this was how the song went:

(VALJEAN)

Monsieur, I cannot stay a night beneath your roof

I am a convict, sir, my body bears the proof

My name is Jean Valjean

I never told Cosette, I bear this guilt alone

And this I swear to you, her innocence is real

Her love is true

Our love, our life, are now her own

And I must face the years alone

(MARIUS)

I do not understand what's the sense of it all?

Is the world upside down?

Will the universe fall?

If it's true what you say, and Cosette doesn't know

Why confess it to me?

Why confess it at all?

What forces you to speak after all?

(VALJEAN)

You and Cosette must be free of reproach

It is not your affair

There is a darkness that's over my life

It's the cross I must bear

It's for Cosette this must be faced

If I am found, she is disgraced

(MARIUS)

What can I do that would turn you from this...

After the Broadway rewrite, Valjean's "There's something now that must be done" is followed by this:

(VALJEAN)

You've spoken from the heart, and I must do the same

There is a story, sir, of slavery and shame

That you alone must know

I never told Cosette, she had enough of tears

She's never known the truth, the story you must hear

Of years ago

There lived a man whose name was Jean Valjean

He stole some bread to save his sister's son

For nineteen winters served his time

In sweat he washed away his crime

Years ago

He broke parole and lived a life apart

How could he tell Cosette and break her heart?

It's for Cosette this must be faced

If he is caught she is disgraced

The time is come to journey on

And from this day he must be gone

Who am I?

(MARIUS)

You're Jean Valjean

What can I do that will turn you from this...

The few lines afterwards are the same, but as you can see not much else in the song is! Even the tune diverges a lot between the two variants. I'm very conflicted about which one I prefer. I gravitate towards the final one, though it's nice that the original actually tried to address to confusing notion that Valjean wants to tell his son-in-law of his past yet not his own daughter.

"Beggars at the Feast" originally ended with a solo for Thenardier:

(THENARDIER and MME. THENARDIER)

We know where the wind is blowing

Money is the stuff we smell

(THENARDIER)

And when I'm rich as Croesus

Jesus, won't I see you all in Hell!

The Broadway libretto switched this to a group line:

(THENARDIER and MME. THENARDIER)

We know where the wind is blowing

Money is the stuff we smell

And when we're rich as Croesus

Jesus, won't we see you all in Hell!

I much prefer the revised version, as the two Thenardiers clearly are in this act together. It seems more appropriate to let them both have the last laugh.

A small change occurs in the Epilogue. Pre-Broadway, Fantine sings "You raised my child with love". However, post-Broadway, she instead sings "You raised my child in love".

Another change occurs later in the epilogue. In the pre-Broadway show, Cosette tells Valjean that "It's too soon to ever say goodbye". The post-Broadway libretto instead has her sing "It's too soon, too soon to say goodbye". Repetitive as it may be, I prefer it over the original because the original awkwardly combines language clearly denoting the moment with language implying eternality.

Phew, we're finally at the end! Rest assured this is almost certainly the longest changelog you'll ever be forced to endure. I'm fairly sure it's complete, but this particular rewrite was so extensive it's not impossible that I missed something. Please feel free to let me know if that is the case.

As a side note, both for this project and my own enjoyment, I want as complete a collection of Les Miserables audios as possible. I already have most of what’s commonly circulated, but if you have any audios or videos you know are rare, or some audios that you haven't traded in a few years, I’d love it if you DMed me!

Until the turntable puts me at the forefront again, good-bye…

#les miserables #les mis #changelog #les mis changelog #marius #valjean #cosette #javert #eponine #enjolras #thenardier #1985 #1987 #broadway #part 3 #long post #the les miserables changelog

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fa-by · 4 years ago

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Hi babies and dear Anons 👋🏼🤗 Back with a new 'Q&A' post. Enjoy 🙃

Hello to you too, dear Anon 👋🏼😄 and yes, I did. You can find it here, dear: https://fa-by.tumblr.com/post/648192029691691008/camren-timeline-tittle-edited.

Yes, I heard about that rumor, dear Anon, and veeery false.

I knoooow 😍😍😍 Let's cry in joy and queerness 🥺😭🌈🏳‍🌈

Yep, dear Anon. And unfortunately for us, they will continue to do so for a veeeery long time 😒🙄😔

No, dear Anon, I highly doubt it's another duet. They'd be really, but really stupid if they do 🤦🏻��♀‍

No, dear Anon, these are just people who want attention. People who have problems in their lives and talk shit about others to feel better. This is just the work of those people who believe in black magic and want to involve as many people as possible to think like them, and if they fail, they attack you because you didn't agree with them and you didn't go to their side. They can get so desperate they even get to the point of, oh I don't know, since you've blocked them, sending an anonymous ask to your girlfriend with a death wish for you:

The funny thing for me besides thinking that maybe this person believes they're a witch and imagining them with a voodoo doll with a needle in my stomach, is that I was kind to them the first time 🤷🏻‍♀‍ I tried to make them reason, I really tried to meet them halfway, but sometimes that's not enough with people like that.

But anyway. My point is that no, management has nothing to do with it. Thank you for your ask, dear 🤗

It's okay, dear Anon, don't worry 😄 In last time’s ask you wanted my opinion on the song, right? Well, Not Killin' It Today simply talks about how not every day is a good day. It can happen to all of us not to feel 100%, and Mila says just that. For us girls it can happen even more during or just before the red sea period, if you know what I mean, and indeed, she herself sings “I'm PMSing” = PMS: premenstrual syndrome. If that's why, I think she wrote this song precisely around that period 🤣

Hello to you too, dear Anon 👋🏼😄 Don't worry, dear, I can understand you, and if I hadn't, we would have found a way to do it. English is not my first language either.

1) Yes, I do think that.

2) (I knew all this) I know she did; she's been doing it for years if that's why because Taylor is one of Camila's mentors. Taylor is what can be defined as the celebrity master with PRs. She’s always done what she was asked to do and she’s always fulfilled her PRs duties of her contracts, and indeed, look where she is now, as well as being a great songwriter. So yeah, who better than her?

Hope you're great too, dear 🤗

Hello to you too, dear Anon 👋🏼😄 I'm sorry I'm bad with general questions like this 😅 I'm so much better when I'm asked a more specific question, and usually, when I have something in mind, I write it and create a post with my opinion about it. I'm not kidding about how bad I am at this, believe me. It’s the same thing as when I get the typical “tell me something about yourself” phrase. It's like my brain suddenly switches off 😅🤣 Can you take a look at all my posts from my archive to see which ones I’ve already responded to and maybe come back with a question? I'm really sorry, dear 😖🥺

I'm sorry but Camila can't stop anything, dear Anon. Not Camila, not Roger, and not even Shoo. I understand your frustration, believe me, I do, but you, and anyone else to which this is still not clear, need to understand that it's a contract. A contract called a relationship contract, and it's a legally binding document. I know it's hard, but the advice I can give you is to ignore the 12-year-old SS and their fantasies, and wait for it to finish without wasting your energy on the bullshit they say. Don't let them get to you and unleash your anger. You make them win this way. Rather, have a laugh at their ignorance.

Hey dear Anon, I'm good, thanks, and I hope you're doing well too 😊 They broke up for a little while, for about a month before, so more than a breakup I would call it a little break. And to answer the rest of your questions, dear, I'll sum it all up by telling you that when they're not together, or they're on a break, they have a different way of acting than when they're together. And I speak in general. It shows in the way they behave in general. Now it's much harder to see since they're no longer in the group and you could clearly see when it happened, and it’s also hard since the pandemic, but there are patterns. I’ve spent so much time analyzing them that they're quite predictable in my eyes 🤣 Forgive me if I'm not going into details, but these are personal observations that not everyone can agree on, you know? Maybe I'll do it in the future, who knows 🤷🏻‍♀‍ We'll see 😉 Have a good day/night too 😄

Hello to you too, dear Anon 👋🏼 and thank you very much 😄 and yes, of course. To answer the rest of your questions, I'll summarize everything by telling you that you have to take into account that I entered the fandom at the Work from Home's time, so they were all just rumors to me initially. Camren themselves were just a rumor to me. I had to search, analyze, and find the proofs on my own to prove to myself which ones were true or not. The first example that comes to mind and that I can give you is the kiss in the van in London that I recently explained in my ‘Inauguration’ post.

I'm sorry you think this way, dear Anon. I honestly think she doesn't even know. She has said many times that she tries to stay away from social media, and I really believe that. She did it before already, but I'm convinced that she does that even more since she was going through that bad time and she was about to give it all up. Besides, it's known that she doesn't manage her accounts, just as it's known that she doesn't even control how they’re used I would say 90% of the time. I don't know if she'll find out and eventually will say something about it. We don't even know if she has the freedom to do so. So, I'm really sorry you're making a decision based on something she didn't do.

Hey to you too, dear Anon 😄 Yeah, it's nothing new. I'd already debunked the whole Laucy story with my very first post (https://fa-by.tumblr.com/post/648191757219250176/there-is-a-light-at-the-end-of-the-tunnel), so as far as I'm concerned, she can say what she wants in future podcasts/interviews as well, but she'll never be able to convince me that she's not actually talking about Camila. This was simply a much more chill, fun, with no tears, and no mention of Camila repetition. The first podcast served to plant the seed. We know that Lucy is her main narrative and we know that she will continue to use her for a very long time. I mean, it’s convenient for her. It's the perfect cover for our Mila. But if people want to keep believing they (Laucy) were real, that's honestly their problem 🤣 Let them be convinced of their beliefs, dear, and have a laugh 😉

Hello to you too, dear Anon 👋🏼😄 Here's the thing……… Yes, to everything you said 🤣 but let me explain why.

1&2) Yes, Laur is like ‘part’ of their contract but for simple narrative, as you yourself said too. If that's why, so are 5H and all the rest of the people who are or have been involved with them. I'll give you an example. You know the bullshit they said about the Austin Mahone tour? That Sunsilk was always isolated in his bus playing guitar? That no one spoke to him outside of Camila when there are actually plenty of videos showing him spending time with the rest of 5H and the other people on the tour too? Certainly none of those people can call him out on that bullshit today and say it wasn't true. They'd blow his cover. They'd make him not credible in the general public's eyes. So everyone needs to be quiet for what they know (that's how it works in that world for every damn thing), and that's Lauren's involvement in their PR. Be quiet. Be quiet and go along with the game. Just as Camila had to during hers with Tymbal.

3) They have to, dear, or all the farces told so far would go to shit for the GP too. 4) 100%, dear Anon, 100% 😏😉 but it must also be said that they'll remain connected forever anyway because of the group.

Hello to you too, dear Anon 👋🏼😄 Welcome and thank you very much 🤗

1) Everything she's been doing lately leads us to think that the first single for the EP will arrive shortly. I think and hope it will arrive for the summer, but as far as the actual EP is concerned, it will depend on the release of the single. So if the single is out this summer, it's very likely that the EP will follow its course by arriving towards the beginning of autumn. We'll see, dear, we'll see 🤞🏼 🤞🏼 🤞🏼

2) I know that many people get upset and that they're disappointed, and while I too would like her to interact with us more, I also know and understand that it's not just up to her. Although she's much but much freer than before, she still has contracts, people, and patterns to follow.

Take it from someone who's waiting for Rihanna's new album for 5 years 😅🤣 It takes patience, and I have a lot of patience, dear. I fall into the category of those who don't mind waiting simply because I'll always support Lauren.

People forget this: we have to consider ourselves lucky that after what she went through, she decided to pursue with music.

If you love her, if you stan her, then be patient. Stay metaphorically speaking by her side no matter what. That’s what I think, dear Anon.

Do you mean the first breakup they had that lasted from late November 2014 to late December/very first days of January 2015, or do you mean the bad one that took place in October 2015? But in any case, both of your questions rejoin only one event, dear Anon: the real breakup of the group that happened in mid-October 2015. But answering you more specifically:

1) You can see with your own eyes the videos of the interviews of that period by starting with this one https://www.youtube.com/watch?v=9WqOb9qBQ_M&t=11s.

2) Camila’s unofficial departure from the group at the time was the icing on the cake, but you have to consider a lot of things, dear. The fact that they were young. The fact that they were in the spotlight and were being monitored by both fans and management. The fact that they had those same people controlling them and telling them what to do all the time. The fact that they were constantly under pressure. The fact that they couldn't be together freely as a couple. The fact that they were forced to pretend they didn't love each other. The fact that they were forced to do PRs, despite being much lighter than now. I could go on with the list, dear Anon, but I think you get the point. It's a lot of stress and a lot to digest, especially considering how young they were and the environment around them.

Have a nice day too, dear 😄

Of course I can answer you, dear Anon 😊 So, in my opinion, and always keep in mind that I could be wrong, she told every person in her clique at different times. I think Mila knew about her attraction to girls back in school, but she didn't say anything to anyone because she didn't have a reason to. In the sense that she hasn't had the opportunity to approach another girl and therefore have a reason to tell someone about her queerness. After her first kiss with Lauren on New Year's Eve, I'm willing to bet that the first person she came out to was her mom. Camila's number one best friend is and always has been Sinu, so I can feel it in my bones that she was the first one to know. Oh and, we're in early 2013 here, so Mila was still 15.

After Sinu, there were the girls (DNA) who obviously lived their story with them step by step and therefore I don't think it was a real coming out with them, and her best friends back at home, Sandra and Marielle Guzman (and maybe also Mariana Luna since she was the other one with whom she was very close immediately after the two sisters, but I'm not very convinced of it), and Jenny Runza, who despite being a little younger than Sinu, Mila has always regarded as one of her best friends.

In 2014, when Camren were official, there were more confirmations that led to her automatic coming out with the rest of her clique's friends since the word Camren had already spread around like wildfire for almost two years by then.

At the beginning of 2015, it was the moment when Laur came out to her family, so I strongly believe that that was also Alejandro's moment, although I'm convinced that like the Jaureguis, Ale knew about his daughter all along and that he was even more convinced at X-Factor. Sofi was last on the list simply for a matter of age and I'm talking about 2017. I can't tell you when she told her grandpas. I don't even know if she could have told Norberto because I don't know the kind of relationship she has with him, but Mercedes? Well, abuelita certainly knew this before 2018 because I laugh when I think about the way she looked and talked with Mattress during their PR.

It's not that simple, dear Anon. You're not considering the fact that they didn't communicate during that time. You're dwelling on only one thing and are not looking at the big picture of their relationship at the time. Okay. Let's do something. Picture a scenario that has nothing to do with Camren.

Picture a couple living together. A couple who often quarrel over even the most trivial things or who don't talk at all because they almost avoid each other. Their relationship is very unstable and they're basically at the end of it. Now picture a conversation between this couple in which the only exchanges spoken in a normal way are by then just daily information such as: “I'll be at work from 8 to 4” - “Okay. Will you come home right after?” - “Yeah, I think so” - and then that person comes home at 6 pm despite the worried calls and messages received.

They're so distant that the person who came home late didn't feel compelled to pick up the phone and tell them about the delay. Probably that person didn't even feel compelled to give an explanation and justify the delay once they got home because they're convinced that their partner doesn't really care and that they're just looking for yet another excuse to argue. That person will have felt even more trapped and suffocated by their partner who was really worried instead, but neither of them tells the other the truth because they're too busy arguing and blaming each other instead of meeting each other halfway and really talking about what they feel and makes them vulnerable. They will surely end up in bed with their backs to each other without saying a word to each other after the fight.

Now look at these phrases from the song itself and put Camren's faces in place of the couple in the example: “With no confrontation, I really wish we could talk about it instead” – “All I need from your side is for you to communicate”. Is it easier for you to understand the dynamic now, dear?

Hello to you too @camilalauren0327 👋🏼😄 [why can't I ever tag you in posts?]

No, no, no, dear. None of this happens. So. I'd like to start by saying that OCD begins when people misunderstand their own thoughts. We've all had unwelcome and intrusive thoughts at least once in our lives, right? Well, the importance of those thoughts becomes much more intense or sometimes even extreme for people with obsessive-compulsive disorder. Like, I'll give you a stupid example, okay?

Most of the time I park, I lock the car, and after I’ve taken a couple of steps, I ask myself: “Ma ho chiuso la macchina?” / “Did I lock the car?”. So, I turn around and lock it again with the keys' remote control even though I've already done it, but I do that anyway to be sure and because maybe I really didn't do it because it happened for real. Now. What would a person with OCD do? Most likely they would do like me, and after getting halfway, they would go back again to close it AGAIN. They would do it a couple of times, and most likely, they would do it a third time after they got home. They would leave the house to go lock the car they've already locked five times.

OCD can begin in adolescence, early adulthood, or even childhood. The onset of obsessive-compulsive disorder is typically gradual, but in some cases, it can begin suddenly. Symptoms vary in severity from time to time and this variation may be related to the occurrence of stressful events. Now. Doesn't all this rings a bell for you? No? Okay, let me explain. I'll copy a piece of my ‘Camren Timeline (Tittle edited)’ post for you: “Camila suffers from one of the variants of OCD since she was 8, and despite seeing a therapist since 2013, her OCD was diagnosed at the end of 2015. C also suffers from anxiety, panic attacks, mood disorders, and depression (all linked to her OCD).”

Why did she start suffering from it at the age of 8? Because little Mila moved back and forth between Havana and Mexico City until she was 5, almost 6, right? After that, she moved to Miami with her mom by leaving behind her family, her friends, basically everything she knew, and her dad. Her dad finally managed to rejoin them almost two years later when she was almost 8 years old. Although she had her family with her again, her little mind didn't relax. It didn’t bring peace to her. In fact, that sprang her first OCD symptoms, which gradually worsened and then fully erupted years later in the group.

What triggers OCD? Stressful life events.

Got it now? Were you able to put the pieces together, dear? I've also answered other questions on the same topic here if it may interest you: https://fa-by.tumblr.com/post/648194918161989633/%C9%9F.

Hello to you too, dear Anon 👋🏼😄 Don't worry, nobody’s asked me to do it yet.

So, as I think we all know, The Boy was originally titled Care About Me. Ed Sheeran wrote it and gave it to Mila for her self-titled album Camila. Mila almost completely rewrote it (Ed said 90% of it) and lastly discarded it because it didn't fit well with the rest of the songs on the album, and I totally understand that.

Intro:

“Yeah, he's messed up a couple times

But he's my glass of cherry wine

And I drink and I drink 'til I'm drunk off of him

I'm in love

(Ash:) He just hit me up to come over

He said what?”

So. The song begins with Mila trying to justify the boy by saying that even though he made mistakes, she's so into him to get past it. I know she used terms like drunk off of him and in love, but she doesn't mean that she's actually in love with him in this case. Just very into him. She's jokingly explaining the situation because she's talking to Ashlee, her friend, and I don't know about you, but my friends and I often use the term in love to make people laugh and to indicate interest in someone.

Like if we see someone for the first time and they're really hot, or if one of the celebrities we like posts like a selfie, we say “I'm in love”. Or, like, another kind of example: one of my best friends has been dating this guy for a few months, and last week he surprised her with some flowers (which he paid very much by the way) and with dinner just because. Hearing her happiness since she has always had only assholes so far, when she finished telling me everything, I made fun of her by laughing and saying: “Lost in love, huh?”. Not because she's actually in love with him, but because it was such a nice thing and she's into him.

So Mila used those phrases to indicate how much she liked him and not because she was actually in love. Also because if she had really been in love with him, she wouldn't have said she didn't care about him for the rest of the song.

Then ‘Ash’ receives the text, and this leads us to understand that the boy is a player and a cheater.

Verse 1:

“Momma said, ‘Always be kind, girl’ (Girl, what's on your mind?)

But I got something I should say (Say it, girl), uh

Boy, I'm sick and done and tired (There's something on my mind)

I'm not yours to manipulate, uh-huh (Tell him girl, tell hi)”

It explains itself quite well. She can't take it anymore.

Pre-Chorus:

“Oh boy, hold your tongue, I don't want no 'pology

‘Cause we both know you're thinking wit' was under your jeans”

Mila tells him not to waste his breath on justifications derived from his member because she doesn't need them. Tsk, Tsk. Typical male behavior. 80% of their thoughts are formulated based on how and where to put their tool in 🙄

“Sent your friends over to tell them you're missing me”

He even sends his friends to her to try to change her mind, but:

“But I don't care, so tell that boy that I am fine”

But she doesn't care. She doesn't care because she's fine this way. In fact, she's better off without him.

Chorus:

“I don't care about the day he decided to leave

I won't be there when he tells another lie so”

This makes us understand how many times she's had to forgive his bullshit.

“I'm gon' use all of my words for weapons”

We know how lethal words can be.

“'Cause the boy don't care about me, lemme say it again, now, babe

I don't care about the way he thinks it's so sweet (Ah)

All that sugar cone gon' be bad for me tomorrow (Ah)”

He can try to kiss her ass as much as he wants, but she won't change her mind. Talking sweet to try to win her back doesn't work because she doesn't want to deal with a player who lies to her and messes up every time.

“I'm gon' use all of my words for weapons

'Cause the boy don't care about me”

He doesn't really care about her, so it's even useless to her that he tries to fix it.

Verse 2:

“All my girls inside the place now (Say we don't need no man)

No wonder we switch sides sometimes (We got this)”

Camilita, Camilita, Camilita 😏 No wonder many girls prefer other girls, huh?

Switching sides can mean switching sides in the true sense of the word, that is for example going from one side of a room to the other. It can mean changing your mind about something or someone. And, most interesting of all in this case, it can mean switching sides in sexual orientation.

I've said many times that she's a fucking genius, and we know how sneaky she is with her songs. She was really smart at using this hidden meaning because a lot of people took it for granted that she meant the meaning of changing her mind since we girls have this nomination about often changing our minds about something.

“Wipe that good look off your face (Say we got better plans)

Ooh, you better not act surprised (For real)”

Exactly. What would be the point? A lot of guys do that 🙄

Bridge:

“Oh, oh, don't care about me

That's fine with me, babe

You don't care about me

And that's fine with me

Fine with me, fine with me (Don't care about)

It is what I need, oh (That's fine with)

Don't care about, care about

Care about, care about me, oh”

She's fine with it simply because she doesn't care about him either.

Outro:

(Ash:) “Girl, that's old, we're done with that”

Yep. She's definitely done with that/him.

And this is my interpretation, dear Anon 😄 In my opinion, if this song really ended up on the self-titled, it would've been used to give yet another proof of her light, old PR with Michael. People were supposed to remember her last, sure, Jan, flame before meeting the love guru Matrix. It was supposed to be like: “Hey, hey, guys, I'm straight, look! I was with a boy and now with another grandpa one!”.

It's just a different version of the Cinderella song for me: she doesn't need a guy in her life. Don't wrap your head around it too much, dear Anon. There's no deep meaning behind it at all. After all, this song was given to her by her idol, and she certainly couldn't refuse. She changed it in a sassy and fun way, she saw that she couldn't fit it with the others because it wouldn't have made sense, and she then discarded it. The end. She was like: it was funny, but I actually have a story to tell. Bye-bye.

Have a good day too, dear ❤️

Hello to you too, dear Anon 👋🏼😄 and yes of course I can do both, but for what purpose am I supposed to do All Again? I mean, I can give you my interpretation of that song without any problem, but it wasn't written by them. By none of them five. That's why I'm asking you for what purpose am I supposed to do that. And that should answer your second question as well. Like No Way and many other songs, the girls may have related to them, but they didn't write them. The only songs they wrote, and not alone but with other songwriters, are:

- Me & My Girls, Don't Wanna Dance Alone, and Who Are You for Better Together,

- All in My Head (Flex) for 7/27,

- and for the self-titled album we have Sauced Up: Arlen (+ other songwriters), Make You Mad: Normally (+ other songwriters), Lonely Night: Norminah (+ other songwriters), Messy: Normally (+ other songwriters), and Bridget: Alren (+ other songwriters).

It's like you ask me to give you my interpretation on for example Who Are You. I could do it without a problem, but that song was written by 8 different heads. With the exception of the bridge that we know Lauren wrote, I can't tell you who among Camila, Dinah, Normani, Ally, Julian Bunetta, PJ Bianco, and Nasri Atweh wrote which part. Analyzing a song sung by a single artist/songwriter is completely different because the idea and concept and feelings are based on a single person. The songwriters who co-write the song together with the artist adapt to them, or maybe the idea comes to one of them, but they modify the concept together with the artist based on their personal experience, as happened for example with Consequences.

Now that you know all this, do you still want me to analyze All Again? Let me know 😄

Let's move on to More Than That.

Lauren wrote four songs in 2016, two of them were meant to be for someone else, but one of them, as we all know well, she kept it to herself. She decided to keep More Than That to herself once she modified the original lyrics along with Prince Charlez and SoundzFire, aka Hue Wayne Strother.

Intro:

“M-M-M-Murda”

This small part of the initial effect intro we hear, is simply a shoutout to Murda Beatz, one of the two producers of the song.

Verse 1:

“I see you watching so I walked into your stare

'Cause I ain't in the position to be walking over there”

She's not in the position to go there simply because she's taken, but she likes to be watched. She likes the attention she's receiving, so she puts herself in plain sight so that this person can keep looking at her.

“I got a situation, I can tell you wanna know”

This guy must have wondered: ‘Why if she's looking back at me, then she won't approach me? Is she someone who likes playing hard to get? Is she a teasing sort? Is she waiting for me to go to her? Or maybe she's in a relationship?’ Typical questions you ask yourself in that situation, and Laur summarized them all in one simple sentence.

“How you can take an honest girl and turn her to a …

If I'ma take a gamble, then you better come correct

I need more than them diamonds that you got around your neck

Shit, anybody can flex, my baby do it best

If you come with somethin' better, then we might just take it there”

The stare, the fact that this guy has the money (diamond necklace), the physical appearance, are not enough for her to push her to cheat. Because if she has to take the risk of cheating, these are certainly not the things that would drive her to do it, but she could if he had something better to offer her. [And with that, please keep in mind that Lauren is a very loyal person and that she wouldn't have done it even if this guy had gone with something better]

Pre-Chrous:

“I know I ain't right for tempting you

But I just wanna see what you would do

If I gave you a taste of what I do

Just remember that I don't belong to you”

The fact that she returned his gaze, that she spoke to him and gave him just a little taste, doesn't mean that she’s no longer taken. As I said before, she likes the attention, and although she knows that it's wrong to instigate him, she does it anyway because she's playing with him. “It's kind of more like clowning him” as she said herself.

Chrous:

“You gon' have to come stronger than this liquor

Wanna take me home, better be more convincing

It'll take more than that to get to me

More than that to get your way

Boy, you better come stronger than this liquor

Wanna take me home, better be more convincing

It'll take more than that to get to me

More than that to get your way

I'm stronger than this liquor”

During the approach in which the guy tried to ‘take her home’ for the night, Lauren easily manages to reject him despite being drunk, because her loyalty is stronger than the attraction she may have felt for him and certainly stronger than what she was drinking.

Verse 2:

“If my man notice, there’ll be some issues”

🤣 🤣 🤣 🤣 🤣 🤣 🤣

I'm sorry but every time I listen to this part I can literally picture Camila turning into the Incredible Hulk as we've seen many times. And shit, despite her being tiny, Mila can be scary when she's pissed off.

“But take my number down, I just might hit you

No, I'm just playing, I'm so deep in love

But the way you talkin' might just have me actin' up”

Drunken thoughts mixed with attraction/arousal blocked by common sense and loyalty.

“The way you looking at me, boy, I know what's up

I can feel how you feel without even a touch”

Let's not fool ourselves, guys. You too will have felt when a person is ready to jump your bones. To feel it in the air. To perceive it from the way they look at you, talk to you, and yes, even using excuses to innocently touch for example your arm even if the intentions are far from innocent. These kinds of things, whether you're in a relationship or not, whether you're loyal or not, and especially if you're attracted to the person in question, make you feel appreciated. They make you feel good. But:

“But don't think that's gon' make me give it up

Boy, your time is up”

But that doesn't mean, however, that you take action on it. It doesn't mean you give in to temptation. It was nice, but no thanks. Bye-bye.

Outro:

“It'll take more”

It takes more than good looks, money, and fake, shiny people from L.A.

And that's it, dear Anon 🙃 This is just a funny song about a situation that happened in a club, in which Lauren shows her flirtatious side but also her loyal side. It wasn't that good for her image, but I have an explanation for that as well.

Remember how I initially said that Lauren wrote this song to give it to someone else and then decided to keep it for herself after modifying the original lyrics? Well, in my opinion, she ‘decided to keep it’ and was even chosen as a single, simply for the narrative. It was chosen to go along with the fake love square cheating bullshit [Lauren and Ty who cheated on Lucy and Alycia to be together]. People should have believed even more that Lauren was a person capable of cheating, and this song served the purpose.

🤸🏻‍♀‍🤸🏻‍♀‍🤸🏻‍♀‍

Aaand I'm done 😜 I hope I was helpful in this case too 😄 Thank you all for your asks and as usual, know that I'm available for those who have questions, so feel free to ask 😊

Always remember to be kind, to others and to yourselves. Be a good example. Be patient. Be safe and take care of yourselves. Don't let our ship sink. Keep shipping them, but please respectfully 🙏🏼 Sending you virtual love and hugs 🤗🤗🤗 I love you, babies. Always with love, F ❤️

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calumsash · 3 years ago

Note

i was actually on my way here when 5sos decided to bombard us with an announcement for a song, a livestream, the sight of calum in a miniskirt, etc, but im here now, hours later, and i wanna talk about monster among men. when i joined this site i remember seeing people hating on this song or simply dismissing it and i was genuinely confused because. it absolutely slaps????? its such a fun song, the kind you just blast in your car and sing at the top of your lungs. i love the instruments, i love the guitar that sometimes sounds like someone singing 'yeahhh'. i love michael's 'DEmons!' also his 'im. so bad for. ✨you✨' and ALSO the 'so here. i. go. oh.' bro michael's whole verse is incredible honestly. and luke's???? 'STRONG.hold! always down to fall just like sand CAstles!' and 'time for me to admit that I'm an ✨ASShole✨' amazing! the chorus too!!!! the 'OHHH! NOOO!'s they're so dramatic so great catch me yelling them at the top my lungs. so what if the song is perhaps a little repetitive??? it works!!! its great!! its amazing!!! one of my faves from youngblood. actually my third fave song from youngblood. And I remember seeing posts here and on pinterest of people hating on it. I don't particularly remember but im pretty sure 5sos disrespected it too in their stream which is a crime because that song is a true banger and I will die on that hill!!!! -monse<3

@lukemichaelcalumashton yesterday was A Lot huh.... glad we all made it in one piece 😌

monse i am here to tell you that i actually considered monster among men in my top songs from youngblood when i first listened to the album! like i have this vague memory of being on the bus for two hours and replaying that song. i'll admit that now it's not in my top and i have been pressing skip but i don't think it's bad! it got it's moment! and yes michael really got his time to shine in this one!!! which is always a plus. it's a feel good fun song and for that im thankful!

here's yours darling:

give me your case in defence of your favourite bad 5sos song and get a fried picture from me

#i get why people consider it bad next to other songs on youngblood but it's not That Bad #best worst songs asks

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bytheangell · 4 years ago

Text

Take Me With You

(For my @shadowhunterbingo square: Traveling | Jimon, Rated Teen, referenced alcohol but no archive warnings/other warnings) (Read on AO3) “I don’t need a bodyguard,” Simon insists. “It was one stupid letter.”

“The letter wasn’t stupid,” Jace says, already regretting his appointment to this job. “It was a death threat, by someone who’s sent multiple things to your unlisted apartment.”

“Well, no one knows where I live on the road, which is where I’ll be for the next three months,” Simon points out.

“Oh, yes, the total inability to track you from a list of cities you’re going to and the dates and times you’ll be there. You’re right, no one will ever find you that way,” Jace says, his tone dripping with sarcasm and more than a little condescending. Simon isn’t a no-name, but he isn’t famous-famous either, and Jace hoped that’d make him a little less awful to put up with than Jace’s usual high-profile assignments. So far it’s the opposite - Simon isn’t taking this seriously at all, which is somehow more frustrating than too much importance being put on minor perceived threats.

Simon sighs. “Fine.” It certainly doesn’t sound like he’s fine with it, but Jace isn’t here to argue. He’s here to do a job.

“Great,” Jace says. “You won’t even know I’m here.”

---

That ends up being a complete lie. Of course, when Jace first imagined blending into the background of Simon’s tour life he hadn’t taken into consideration the fact that Simon drove his own van, which would just be the two of them for extended periods of time.

Jace can tell that he’s putting a damper in the way Simon normally functions during his tours, mostly because he’s quiet while they drive. Then he’ll say something, start to ramble, catch himself rambling, and fall abruptly silent again in a repeating pattern.

“Sorry if I’m cramping your style,” Jace says after one of these repetitions, speaking loud enough to be heard over the music playing in the background.

“You’re not,” Simon insists.

Jace is dubious. “What would you be doing if you were alone?” Jace asks.

Simon doesn’t even hesitate before answering, “Scream-singing at the top of my lungs with the windows down. It’s like, my tried-and-true road trip routine.”

“...so do it. Don’t let me stop you,” Jace says.

“My manager hates it because he’s convinced one of these days I’ll end up losing my voice before a show. It’s probably for the best I’m not,” Simon says before falling silent again.

Jace doesn’t push it, nor does he comment when Simon starts to sing to a song that comes on about half an hour later, his voice growing louder and louder until all the windows are down and he’s shouting lyrics into the cool night air.

Jace has to fight the urge to join him. Normally he doesn’t have an issue staying focused on a job but Simon has this disarming way of making Jace want to relax around him. Somehow what he thought would be his easiest job to date continues to throw surprising complications his way.

Still, he keeps his mouth shut and enjoys Simon’s singing as they continue driving into the night.

---

Watching Simon with his fans is nerve-wracking. There’s no telling who might be a threat, not when everyone seems so down-to-earth, much like Simon himself. There aren’t any obviously obsessive fangirls and normal tells like knowing too many personal details is just the norm, with multiple people casually asking Simon about how his Bubbie Helen is doing or about the cat he left at home with Clary during his tour, or the most recent book he’s been reading and chatting about online. It’s difficult to pick out a potential stalker when everyone knows what Jace would typically consider more personal details than usual about Simon.

Jace watches these pre- and post-show encounters with a feeling more like he’s observing conversations between old friends rather than a musician and his fans, signatures and photo ops aside. Simon knows some of them by name, remembers birthdays mentioned over social media or live chats, and even recalls previous conversations. It’s impressive.

Dressed in plain clothes so he blends in with the crowd, Jace grows increasingly impressed with Simon the more time he spends with him. Plenty of people claim to be humble, but few often are in practice. Not Simon. Simon is everything he told Jace when they first met. He’s the same way with his fans that he is in private with Jace, which is the same way he is with his family and friends - Simon’s just, well, Simon, honestly and earnestly and unapologetically.

It’s refreshing. It’s also just another thing for Jace to push to the back of his mind, because he doesn’t need to like the guy - he just needs to protect him. Simon looks up from the table he’s signing CDs at and shoots Jace a beaming smile, and Jace has to actively force himself not to smile back and simply nod his head in acknowledgment instead.

“It’s an assignment, Herondale. Get your shit together,” Jace mutters to himself from the corner of the room. It’s a reminder he repeats more often over the upcoming weeks than he’s comfortable admitting.

---

“Please,” Jace begs after the first two weeks of shows. “I will pay for a better hotel. Let me pay for a better hotel.”

Simon is shaking his head in response before Jace finishes the request.

“Why?!” Jace glances critically around the room. “Do you want to get murdered in a shady motel? Just because I can keep you alive doesn’t mean we have to actively test it every night when we could have a door that doesn’t look like my 11-year-old brother could kick it in.”

“You have a brother?” Simon asks, ignoring everything else Jace said as he tosses his duffel bag (because Simon doesn’t even have a proper suitcase) onto a bed Jace feels the instinctive need to run a blacklight over.

Jace hesitates to answer because this is a job and he isn’t meant to share personal information about himself with his assignment. It’s strange because normally the people he’s tasked to protect are such self-absorbed assholes they barely spare Jace a second glance, let alone casual conversation.

He’s aware that the pause he takes after what should be a simple question is way too long when Simon frowns, brows pinching together.

“Two brothers, actually. One older, one younger, and a sister,” Jace finally decides to share. It’s all he intends on saying, not wanting to be rude and not answer at all, but when Simon brings up his own sister and keeps talking, keeps asking curious, harmless questions, Jace finds himself answering without thinking.

Simon is easy to talk to - maybe a little too easy to talk to, because the next thing they know it’s 1am and they need to be up and back on the road at 6.

“Get some sleep, Lewis,” Jace says finally, taking a few extra minutes to secure the door before doing one last perimeter sweep. When he gets back he pretends he doesn’t notice Simon, still awake, hastily close his eyes and pretend to sleep the second Jace gets back in the room.

---

After the third week, Jace insists that staying at nicer hotels is a matter of security and finally convinces Simon to pull into the parking lot of a proper hotel. One with room service instead of vending machines, plus a gym and a pool. Jace tells himself it’s a matter of security as well, and not a reaction to Simon complaining about having several nights of terrible sleep and some back and neck pain from the old, cheap mattresses.

Jace certainly doesn’t correct Simon’s assumption that this is covered in the contract when in reality Jace is fronting the extra cost himself. After all, this is as much for his own benefit as it is for Simon’s, right?

That’s what he tells himself as he opens up more around Simon as well, sharing a drink or two when Simon insists (never anything enough to impair his judgment, and only ever when they’re back in a room for the remainder of the night), telling a few more personal stories, and… flirting?

Jace isn’t sure, but occasionally when Simon impulsively runs into an ice cream shop in a new city and gets a cone for each of them, or points out a storefront display with a leather jacket he thinks Jace might like, or leans his shoulder into Jace while laughing at something sarcastic Jace says… yeah, sometimes Jace gets the feeling that Simon might actually like him.

Then Jace just as quickly tells himself that it’s just Simon being nice, because Simon is nice, and because of course Simon’s going to be on good terms with the guy he’s stuck with 24/7 for two months. Jace is working for Simon, and their relationship is strictly professional, however pleasant it may also be.

It’s that hard line Jace knows they won’t cross that allows him to continue to open up more, because Simon’s safe. He’ll never see the guy again when all of this is over.

“You’re a good person, Jace,” Simon says one night after a lengthy conversation.

“...what?” Jace isn’t expecting that.

“You know that, right?” Simon’s tone is just shy of insistent, and certainly not rhetorical.

“Why do you say that?” Jace asks instead of agreeing, because… well, because he doesn’t know that. He tries, but he’s made some shitty decisions in his past, and hurt a lot of people, intentionally or not. And Simon doesn’t even know him, so Jace really doesn’t know where this is coming from.

“Just… the way you talk about yourself sometimes. Like you always have something to prove, or make up for... or like you have to justify everything you say. Sometimes I get the feeling you don’t think very highly of yourself even when you’re acting like God’s gift to mankind,” Simon adds with more accurate insight than Jace is comfortable with.

And now Jace really doesn’t know what to do with that.

“What are you, a philosopher now?” Jace mutters, still avoiding any sort of direct commentary on Simon’s way-too-close-to-home observation. “Go to sleep, Simon. I don’t need you too tired to focus on the road tomorrow.”

Simon looks like he’s going to argue but doesn’t in the end, leaving Jace alone with his thoughts in the newly settling silence of the hotel room.

It feels surprisingly pleasant to hear those affirmations from Simon, and Jace considers for the briefest moment what it’d be like to just be friends with Simon outside of their circumstances, to have these discussions and delve deeper into both of their pasts, humoring more of Simon’s personal questions and--

--and everything he can’t let this turn into over the next few weeks. Fuck.

Maybe there’s some harm in opening up after all.

---

They’re a little over halfway through the three-month tour when Jace realizes that perhaps his harmless crush on Simon is stronger than he realized. Jace watches from his usual spot in the corner as Simon signs CDs and sells band t-shirts and poses for photos, which is what he always does. But with every flirtatious laugh and every arm Simon drapes over someone’s shoulder or wraps around someone’s waist, Jace feels the desire to pull Simon away... and it isn’t because he’s in danger. It’s because Jace is jealous.

Jace grows sullen at the realization, arms crossed in front of him as he forces himself to watch Simon with his fans, because this is his job. The more he watches the more he doesn’t even think Simon realizes he’s doing it. Jace knows what active, intentional flirting looks like, but this is just Simon being his natural charming self, and Jace isn’t sure if that makes the whole thing better or worse.

Because it starts to dawn on him with a bit more meaning now that the way Simon’s been with him is the way Simon is with everyone. Jace just gets to experience it more often than everyone else right now. That doesn’t make their conversations special. It doesn’t make Jace anything special to Simon. And hell, maybe it’s just been a while since Jace spent this much time with someone else, too. Maybe he should work on writing off his own motivations as easily as he’s writing off Simon’s because his feelings are far from professional right now.

When the crowd disperses and Jace goes to help Simon wrap up his gear and load it back into the van (something that’s become routine for them, though not strictly in Jace’s list of expected duties) Jace is quieter than usual.

“Everything alright?” Simon asks, catching the shift in mood.

“Yeah. Fine,” Jace says curtly.

Simon doesn’t look like he believes him but doesn’t press the topic as they toss the last of the equipment into the van and head out.

---

The nicer Simon is toward him, the more closed-off Jace gets. He’s quiet during dinners Simon insists on paying for, stops sharing so much about himself when they do talk, and when Simon gives Jace a guitar pick he fashioned into a necklace for him Jace pockets it with a muttered ‘thanks’ without putting it on. He doesn’t have the heart to totally push Simon away, but he can’t keep growing closer to him knowing it’s all going to end in three weeks.

Jace wears the necklace every day but he keeps it tucked underneath his shirts where Simon can’t see.

Simon eventually stops trying to talk to him entirely, and they spend more and more time in uncomfortable silences. Sometimes Simon insists he needs privacy to work on his music and Jace sits at the end of the hallway of their hotel room listening to the faded sounds of Simon’s strumming.

There are three weeks left in Jace’s assignment when he gets the call that the police managed to track the letters to a girl back in New York: she’s in custody and getting a restraining order put against her, and Jace can come back as soon as he arranges transportation.

Jace hangs up the phone feeling surprisingly upset. This is great news for Simon, and he should be happy for him if nothing else, but that means this is the last night he’ll have to spend with Simon.

The last night he’ll get to spend with Simon.

“Hey Simon, good news. I just got a call from Luke and they tracked down your mystery stalker. You’ll get all the details once you’re back home but they’re already putting the restraining order into place, so you’re good to go.”

“What? That’s amazing!” Simon grins automatically, but it falls back into a frown just as quickly. “Does that mean you…?” his words trail off in question.

“I’ll be able to leave in the morning,” Jace confirms.

“Guess you’ll be happy to get out of here,” Simon says, his smile entirely gone.

“I do miss New York,” Jace carefully avoids the answer he knows Simon’s fishing for. The lie he should give, but can’t bring himself to.

Simon looks Jace up and down, his gaze finally resting on Jace’s face for a long couple of seconds, searching for something there before turning away without another word.

---

Jace knows he shouldn’t go to the show, but he does. He hangs in the back, a real drink in hand now that he’s no longer on duty, and listens to Simon sing the songs Jace knows by heart now. Jace knows from experience standing by the side of the stage that there’s no way Simon can make out any faces where Jace currently sits back by the bar. He plans on leaving before the end, before the lights come on and Simon knows he was there.

He’s a few drinks in when he hears Simon break his usual format.

“How does everyone feel about me trying out a new song I’ve been working on?” Simon asks. The crowd claps and cheers, and Jace shifts in his seat to fully face the stage. “This is a song about feeling a connection with someone, and not knowing when things went wrong, only that they did. And wondering if maybe it was all in your head the whole time...”

Jace feels his throat tighten at those words. He doesn’t have to be a genius to piece together the lyrics Simon starts to sing, fitting them to their lives the past few months, the hope of getting to know someone you’re starting to like, the confusion of being shut out, the uncertainty of wondering if they ever felt the same way you did or if they were just humoring you.

Jace knows Simon well enough to know that this isn’t a coincidence. It can’t be.

Against his better judgment, Jace stays. He stays until the set is over and the lights come on and Simon looks out around the crowd and makes direct eye contact with him.

Because fuck it. He’s leaving in the morning, and if this is all for nothing then he’ll never see Simon again and it won’t matter. But if he’s right…

Jace hangs back, watching Simon smile and laugh and sign CDs and take photos, acutely aware of every time the musician’s eyes wander over to where Jace lingers by the bar. Outside of the fading buzz from the alcohol it almost feels normal: hanging back after the show, watching Simon and waiting for him to make his way over once the crowd disperses. Hell, even the butterflies in Jace’s stomach aren’t new.

“You’re here,” Simon says when he finally makes his way over. “I didn’t think you’d come, since… I mean…”

“I heard your new song,” Jace forces the words out before he can change his mind. “I’d say I liked it, but that seems like the wrong response from the guy who made you think you did something wrong.”

“Not everything is about you,” Simon argues, but the intent falls flat beneath the nervous tremor the words are spoken with.

“No,” Jace agrees easily. “But that song is.”

Simon hesitates, then sighs. “It is.”

“I’m sorry.”

“You don’t have to apologize for not liking me, Jace. You were doing your job, that’s-”

“No. I’m sorry I was going to leave without telling you that I like you. I thought I’d leave and you’d never see me again, that it’d be pointless to get attached. I thought you were just… being nice. Because you’re a good person.” The words spill out of Jace before he can overthink them.

“You like me,” Simon repeats incredulously. “That totally makes sense with, you know, the way you completely stopped talking to me.”

Jace can hear the anger in Simon’s voice and winces slightly. Just because it’s entirely deserved doesn’t make it easier to hear.

“I figured it’d be easier to walk away once this was all over if we weren’t as friendly.” It’s still a shitty thing to have done, and Jace wouldn’t blame Simon for holding it against him. But after hearing that song he couldn’t walk away with Simon thinking it was over anything he did wrong. No matter the cost to Jace’s pride, Simon deserves that much. “And… maybe I was a little afraid that if I got much closer I’d want to cross a line I knew I couldn’t.”

“So you felt it too?” Simon’s words and expression are full of so much hope that Jace almost panics again. What if he isn’t half the person Simon thinks he is after getting to know him in this little bubble of theirs from the past few months? What if he messes this up?

...what if he doesn’t?

“I did,” Jace finally admits. “I still do. And I know I probably ruined any chance I had before, but if I haven’t fucked things up too badly, maybe once you’re back in New York we could meet up for coffee?”

Simon smiles, brighter than the house lights that fill the small venue now.

“Or… or you could stay with me for the last few shows? I wasn’t just being nice for the sake of being nice - I like you, Jace. I changed my hotel routine for you! I wouldn’t do that for just anyone. I don’t know if you have to go back right away for work, or something, but if you don’t I definitely wouldn’t mind the company. Your company.”

Jace considers it for a few long moments, then nods. It’s fitting, he thinks, to drop the formalities and the professional distance in the same setting he started to fall for Simon in. The same setting in which Simon started to fall for him, despite Jace’s best efforts to dissuade him, only this time with no excuses to hold him back. And if Simon’s willing to give him an actual shot after everything, he’d be a fool not to take it.

“Well, I can’t very well leave you to lug all your equipment around by yourself, can I?” Jace says, smiling. “Let me check back in with the office tomorrow morning but I don’t have anything scheduled. It shouldn’t be an issue.”

There’s a pause then, the air between them filled with an almost electric buzz of anticipation. Simon takes the first step closer, bridging the gap between them. There’s no questioning what Simon’s thinking when his eyes dart down to Jace’s lips and back up to meet his gaze again before speaking.

“Can I-”

Before Simon can finish, Jace’s lips are already on his in response. It’s slow and tentative, with each of them feeling the other out, but it’s nice. It’s really nice. When they pull away after a few moments Simon can’t keep the smile off his face. “That was even better than I imagined.”

Jace quirks an eyebrow, smirking fully now. “You imagined us kissing?”

“Shut up and help me load the van.”

The familiar banter and Simon’s easy smile are such an immediate comfort for Jace that he can’t help the light laugh he gives in response. As Simon looks back at Jace it’s with an expression so soft and full of kindness that Jace knows now isn’t the same look he reserves for everyone else.

Jace knows it’s a look reserved only for him this time - and with any luck, for many more times to come.

#jimon #jace herondale #simon lewis #shadowhunters #tsc #hmdiscord #ShadowhunterBingo #a birthday gift for cor! because no one loves Jimon quite like her <3 #I hope you like it!#long post #elle writes a few deadbeat lines

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sassyduckqueen · 4 years ago

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Miraclous: Rise of Anatis 49

And here's Guitar Villain. I hope you like it. The next chapter is the silencer inspired chapter, which I'm very exited for but right now, it's 3 am so I will be going to bed and I'll start it tomorrow. Also I can't believe this story's nearly at 50 chapters :D Anyway my bed calls!

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Chapter Forty-Nine: Guitar Villain Vs XY (2/2)

Luka smiled as he watched Jagged play his guitar. He was stood next to Penny and Bob Roth as Jagged played a solo for his new song. It was a rock song, devoted to Anatis and Lady Noir. Luka had to admit that it captured their energy perfectly and it made him wonder if Jagged had a similar ability to himself. He found it fascinating to watch Jagged as he easily moved his fingers across the fret-board. He really was an amazing guitarist. Maybe one of the best of all time. The rockstar was wearing his signature Eiffel tower glasses and was headbanging as he rocked out as well as jumping around, making Luka smile. He really did have a lot of energy. He jumped and did a power slide, throwing his head back.

"My miraculous!" He sang, bringing the song to an end as Luka clapped along with Penny clapped before Jagged jumped and handed Penny his guitar. Bob Roth, on the other hand, didn't look so impressed but Luka got the impression that it was hard to impress the guy. "So what do you think of the first single on my new album? Can you feel it, Bob? Isn't it killer?"

"Not bad, Jagged, not bad," Bob replied before lifting his hand into the air a little as Luka took a seat on the sofa. Fang climbed up and rested his head on Luka's lap. He smiled and gently patted the crocodile as he watched the adults. "But if you really want to be making something killer, let's talk about this duet with Mr XY,"

"No way, he's not a rocker," Jagged replied, frowning as Luka rolled his eyes. XY's music wasn't even music at all. There was no heart or emotion. It was just boring and repetitive. It's almost as bad as Lila's heart song if you could call it a song. Luka thought it more as screeching, like a distress animal trying to call for help or foxes in mating season. "He's a baby. I bet he doesn't even shave yet. Nah, if you want me to do a duet with someone young, it should be my kid. He's got real talent,"

"Yet not even signed," Bob argued, throwing a glare at Luka. However, he quickly looked away when Fang let out a low growl. "Besides, this 'baby' just pushed you out of the number one sale spot!"

"And?" Jagged asked, shrugging. "Doesn't make him a true musician like me. Penny and Luka think what I'm doing is Rockstar material. They think I'm killer,"

"Penny might be your agent and that boy might be your son but I'm your real boss," Bob growled, making Jagged glare at him and Penny step back. Instantly, Fang moved off the sofa and toward them in a protective manner. He pinched his nose before sighing. "Listen, Bob Roth records can't afford to be No.2 in sales or rep a No.2 rockstar! Get real, Jagged! You gonna have to modernize your music, change the way you look... Get a whole new style!"

"Tsk," Jagged replied clearly annoyed as he crossed his arms. "You wanna talk about real? I'm a genuine rock and roller, Bob, not some pop star in diapers! I'm a real artist with real talent. Even my hair is real! And that's what people love about me!"

He grabbed his guitar and slid over to Fang.

"Isn't that right, Fang? Yeah," He asked the crocodile, grinning before jumping up. "And the artwork you came up with my new album is a waste of my time! Seriously, Bob, what is this trash? It looks like a perfume ad!"

"And that's what people want these days!" Bob replied, poking Jagged in the chest.

"Well, I don't!" Jagged replied, frowning. "Honestly, Bob, I don't get what your issue is! Last year, I got to number one without looking like that! My album covers are suppose to be raw to the bone, exuding the smell of sweat and leather!"

"You do know, don't you, that if your next album doesn't rank no.1 in the charts, it will be the last one you'll ever do in Bob Roth Records,"

"Doesn't seem like a loss to me," Luka muttered, causing Bob to glare at him.

"I'd rather put out nothing at all rather then sing some pathetic duet with that baby faced nobody," Jagged muttered, turning his back on Bob as he glared. Penny held up her hands as she stepped in to control the situation.

"Bob, Jagged and I had an idea," She replied, taking his arm and causing him to look at her. "It's concept is modern but it also respects Jagged's own 'rugged' style,"

"The school girl who made these glasses has some real talent. I've commissioned her for several pieces since she made these and she's real good friends with my son so I know she is killer too," Jagged grinned, holding out his glasses as Luka glanced over. Is he gonna suggest what he thinks he is? "She gets my style. She'll design the cover of my new album,"

"A school girl?" Bob asked, unimpressed.

"Luka, show Bob your jacket," Jagged grinned, causing Luka to stand up and grab his jacket from the hook. He pull it on and walked over, causing Bob to look at it. His expression quickly turned from unimpressed to fascinated. "Marinette is a totally killer designer with a real bright future,"

"She also is the same age as the target audience, Bob," Penny explained, making him nod as he listened. "Here's her address,"

"Alright but just think about this duet with Mr XY," Bob replied, taking the address and leaving the room as Luka took off the jacket and flopped back onto the sofa.

"Why not contact Marinette yourself or commission her through her website?" Luka asked, making Jagged eyes go big. He forgot that Jagged didn't know about the website yet. Marinette was still shy about telling people, especially with the whole Reflekdoll incident. Luckily, they redid the photo shoot and got some really nice pictures. Juleka modeled most of the outfits but he also modeled a few of them. They even got some great photos of them together. He was really happy to see Juleka doing it. She honestly did amazingly. "Marinette's gonna kill me,"

"Yep," Penny laughed before sitting down. "Since it's for Jagged's album cover, it works a little different to how we get his outfits but I'm sure Marinette will agree and do great. Though I wish Bob would drop the whole duet thing with XY,"

"Why does he keep pushing it?" Luka asked, frowning, Penny sighed.

"Probably because XY is his son," Penny sighed, making Luka frown. He didn't know that. "Either way, I can't wait to see what Marinette will come up with,"

"Same here," Luka smiled as Jagged handed him a guitar. He smiled and took it before the rockstar grabbed his own and took a seat. The two of them began to jam, causing Penny to smile.

~Later that Day~

"Marinette is here," Penny smiled, showing the girl in. Luka smiled and waved at her, making her wave back at him. He could tell she felt nervous but it wasn't because she was in front of Jagged Stone or Bob Roth. It felt like she was worried that they wouldn't like her design and honestly her music sounded a little dull, like her normal creativity had been sucked out of her. He frowned a little as she walked over to them and held out the cover design. Jagged took it and instantly frowned, holding it by the corner. Luka frowned as he saw it too. It was nicely designed but definitely not Jagged or Marinette's style. In fact, it looks very similar to the XY album cover and like a perfume ad but that explained Marinette's song.

"What happened to the raw impulsive artistry that made this?" Jagged asked, dropping it to the floor but Marinette didn't even react. She was not proud of her work at all. She sighed and stepped forward.

"Yeah... about that," She mumbled, rubbing the back of her head. "Mr Roth told me-"

"Marinette's young, Jagged!" Bob gasped, pushing her out of the way. Instantly, Luka narrowed his eyes and gripped his guitar tightly. "She represents the target audience. She's come up with a modern concert that's exactly what you need,"

"You mean you pressured her into making that for what you need," Luka stated, making Bob glare at him as Marinette looked a little surprise. She pressed her forefingers together. So he was spot on then.

"Doesn't it look a lot like the cover of that YZ guy?" Jagged smirked, clearly knowing what Bob had tried to before he turned to Marinette. "Marinette, don't listen to Bob. Could you do another one... you know Jagged Style?"

"Yeah... sure," She replied but Bob placed his hand on her shoulder and growled a little, causing Luka to narrow his eyes again. He was ready to jump and pull her away from Bob if he moved his hand any farther. "But I don't know if..."

"You're my girl, Marinette. Remember... raw, impulsive artistry" Jagged stated, taking her hand in his before turning to Bob. "I think we're all done here, Bob,"

"No, we'-" Bob started, moving his arm around Marinette, causing her to look uncomfortable. Almost as soon as he did, Luka jumped up and easily pulled her out of his grip as Fang growled. He held her protectively as he glared at Bob backed away from Fang. Seeing the chance, Penny got up and walked over to them.

"Come with me, Marinette," Penny smiled, leading her away from Bob. Luka gave him one last glare before turning to Jagged.

"I'm gonna head out with Marinette," He explained, getting a nod of him. "See you later,"

"Of course, Luka. Just drop us a text when you want to spend some more time with your old man!" Jagged grinned as Luka put down the guitar and grabbed his jacket. He jogged over to Marinette as Penny told her not to worry, causing Bob to notice. He tried to say they weren't done but Fang growled at him again, scaring him.

"You off, Luka?" Penny asked, getting a nod of him as Marinette blinked up at him. "Well, don't be a stranger,"

"I won't be," He smiled before turning to Marinette and offered her his arm. She giggled but happily took it as they walked over to the lift.

"You didn't have to leave because of me," She mumbled, making him look at her.

"It's fine," He smiled. "I was getting hungry and the music in the room was getting pretty loud so I could with the fresh air,"

"Ah, I see," She replied before doing a dramatic sigh. "And here I thought you just wanted to spend some time with me?"

"I mean um..." He gasped, going bright red and making her laugh. "I cou-could get you lunch if you like?"

"Hmm, you know I'd like that," She smiled as they walked in the lift. She leaned over and pressed the button as she sighed. "But I really should get started on this album cover,"

"Oh right, yeah... of course," He mumbled, going a little red. She giggled a little.

"But maybe we could hang out tomorrow?" She asked, making him glance at her. "I know it's not quite lunch today but it would be nice to spend some time with you,"

"Y-Yeah?" He asked. His cheeks were still a little bit flushed. "That would be great,"

"It's a date then," She grinned, smirking as he went a little red. She giggled as she thought it was adorable. The door opened in the lift, causing them to step out and head towards the exit. Marinette stopped and leaned up, kissing Luka's cheek. "I'll see you tomorrow then,"

"Kay," He muttered, a little dazed. She smiled and walked, lifting his hand to wave as she left. He stood there for a few seconds as he smiled dreamily before Tikki poked him in his side, making him blink as Adrien got out of his car.

"Hey, Luka," He smiled, waving to him as he walked over. "You ok? Your cheeks are red,"

"O-oh I'm fine," Luka grinned as Chloe rushed past him and hugged Adrien, causing him to smile and greet her back. She noticed Luka and grinned.

"Hey, Luka. Are you wanting to meet Jagged Stone as well?" She asked, making him chuckle a little. If only she knew. "I've arranged for me and Adrien to meet him! If you want you can come with us!!"

"Oh, that's nice of you, Chloe," Luka smiled. "But I was just gonna get a bite to eat and head home,"

"Ooh, why don't you have something from the restaurant?" She gasped, grabbing his hand and dragging him inside with Adrien, who just shrugged. Luka went to say he couldn't afford it, making Chloe tut. "Oh, don't sweat it, Luka. I'll get it for you. It's the least I can do given how kind you've been to me. Besides, you're my friend,"

"Thank you but I really don't mind getting food else where," He replied, noticing Bob Roth sat doing an interview near by. He glared towards him a little.

"Honestly, it's fine," She grinned, pressing the lift button. "Daddy won't care as he gives me anything I want,"

"Well, I gu-" Luka started as Bob Roth mentioned something about Jagged doing a duet with XY but a growl cut him, causing everyone to look in direction it came from. Luka gasped as he saw a giant purple dragon that looks similar to Fang before noticing the man below it. He was dressed in a dark gray sleeved top with a turtle neck collar and yellow flames going up the sides. It also had pointed edges on the shoulders and the sleeves were purple with black fishnets on them. He had a dark gray belt with purple spikes on it around his waist. Her pants were dark gray with yellow flames up going up with his legs. His gloves and boots were dark gray with purple spikes on each of them. His hair was in long dreadlocks and was light pink with a dark pink ombre. He had black face paint around his eyes which resembled the face paint of Gene Simmons of Kiss. He was holding his guitar, which was a shiny purple with two black points instead of it's circular form.

"From now on, you call him Guitar Villain and he'll never do a duet with Mr XY!" The akumatized Jagged declared, causing Luka to stare at him in shock. "In fact, soon there won't even be a Mr XY! Rocking Riff, Baby!"

He played his guitar while head banging, causing a purple energy to appear and hit Bob Roth and the woman who was interviewing him. They started to rock out and jump around as if at a metal concert, causing Guitar Villain to smirk.

"Soon there will be nothing but guitar villain fans," He declared, moving his hand in front of him. "The one and only rocker on earth,"

"Dad," Luka muttered as he held up his hands in the horns symbol.

"Dad?" Adrien questioned, causing Luka to turn and face him and Chloe, who looked at him with surprise. He had forgotten they were there. Adrien blinked and looked over at him. "Jagged is yo-"

"Please don't tell anyone," Luka gasped, surprising them as the lift door opened. He pushed them in and pressed the upper floor. "I'll explain everything later but go and hide. I'm gonna alert the akuma app and hide behind that plant pot,"

"Huh? But isn't it sa-" Chloe started but the door to the lift closed before she could finish the sentence. Luka moved behind the plant pot and ducked down as Guitar Villain began to walk down the stairs. He took out his phone and activated the akuma alert app, even though he was already on the scene. It would stop Adrien and Chloe from questioning him about that part.

"Yeah! Guitar Villain!" Guitar Villain declared as he walked to the door with Fang flying next to him. "Whoo!"

"Well, at least he's kind of himself," Tikki muttered as she flew out of his pocket.

"Still it's like Hawkmoth has an issue with my family," Luka muttered, frowning. Hawkmoth has targeted Rose and his mum once and he's targeted Juleka twice. Now he's gone after his dad. If he didn't know any better, he'd think that Hawkmoth knows who he really is. However, he knows that he's been really careful with his identity. He let out a sigh before looking at Tikki. "Time to face the music. Tikki, spots on!"

He transformed into Anatis and rushed outside as the doorman head-banged. He threw up his yoyo and swung onto the rooftops. He looked around and saw that a number of people, pigeons and cars had been hit by Guitar Villain, causing them to be forced to head-bang. He frowned to himself before swinging over to the Fontaine du Palmier, landing on it as Guitar Villain hit a mother and her child with his beam.

"You know moshing is really bad for people's necks!" He declared, causing Guitar Villain to face him.

"Trying to crash my party, bug boy?" He asked, taking out his guitar. "Awesome solo!"

He played his guitar, directing a golden beam towards Anatis. He jumped up and moved out of the way as it hit it, causing it to fall. Guitar Villain didn't seem bothered by it's destruction and kept playing his guitar, trying to hit Anatis with the beam. He jumped over a number of cars to get out of the way of the attack and took out his yoyo, going to throw it at Guitar Villain but before he could, green fire was directed at him. He jumped out of the way and looked up, seeing Fang flying the sky. He opened his mouth again and breathed fire towards Anatis, causing him to run out of the way. Guitar Villain smirked and directed his guitar at Anatis as he tried to dodge Fang's fire, hitting him with the golden beam that pinned him to the wall of a building.

"Welcome to my fan club, Baby," Guitar Villain chucked as he repeatedly hit him against the wall before letting him fall to the ground. Anatis jumped up and ran as Fang tried to blow a fire at him again. He jumped over a car but he was thrown back by the awesome solo beam. He landed against a lamp post and fell to the ground as Fang flew over and when to breathe fire at him. However, Lady Noir jumped in front of him and redirected the fire with her baton, allowing him to get to his feet.

"Annie, you ok?!" She asked as he dusted himself down.

"Yeah, I'm fine," He replied, glancing up at Fang as it flew around and turned back round. "Glad you turned up when you did. Your baton would work nicely right now,"

"Sounds like a plan. Give me a step up?" She replied before running towards him. He placed his hands to get, allowing her to step on them before he brought them up, throwing her upwards and towards Fang. She threw her baton as he opened his mouth, trapping it in between his jaws. She grabbed held of it but Fang shook her off, causing her to fall down. She moved her body around and jumped off the side of a building as Fang snapped his jaw, sending her baton flying. She caught it and landed on the ground, glancing around as Guitar Villain jumped on Fang and flew over to them.

"You're wasting my time!" He declared, glaring at them. "I have a concert to go to,"

With that, he flew off, making Lady Noir raise an eyebrow before the two heroes jumped up and ran across the roofs to try and catch up with him.

"So who is the rockstar wannabe?" She asked, causing Anatis to frown.

"It's Jagged Stone," He replied, making her gasp. "He's calling himself Guitar Villain but I'm not sure why he got akumatized,"

"Damn, maybe it had something to do with Mr XY," She replied, making him look at her with a questioning look. "Oh, Mr XY gave an interview and basically insulted Jagged. He called him as has-been and Ragged. He then implied that Jagged didn't know real music, stole his catchphrase... you know the whole 'killer' thing and basically dared him to come to his gig, saying he would give him front row tickets in case Jagged couldn't hear because of his age,"

"Rude," Anatis gasped, looking annoyed. "Jagged is the true musician here and he's not that old!"

"Are you secretly a Jagged fan?" Lady Noir grinned.

"That's no secret, Kitten," He grinned as they landed on a building. They could see Fang in the distance as he flew around the Eiffel tower. "Why is it always the Eiffel tower?"

"No idea," Lady Noir replied, shrugging. "So what's the plan?"

"Well, his power comes from his guitar," Anatis muttered, glancing up at the dragon. "We've gotta keep him from performing,"

"Well, let's put a stop to this one man band," Lady Noir grinned before the two of them jumped over to the Eiffel tower and scaled it. They got to the top and climbed over the gate just as Guitar Villain went to hit Théo Barbot with his 'rocking riff' attack. Anatis threw his yoyo and pulled him away before he could be hit. Guitar Villain growled and glared at them as he saw them.

"You two again!" He huffed, narrowing his eyes. "To the TV studio, Fang,"

He jumped onto Fang and flew off, making Anatis to frown.

"He's gonna get there before us," Lady Noir gasped as Anatis took out his yoyo. "We can't let him get to XY,"

"I'm on it," He replied, dialing a number and holding the yoyo to his ear. "Hello, it's Anatis. Can you put me through to whoever is interviewing XY? Yeah, I'll hold,"

He rolled his eyes a little, making Lady Noir snort with laughter.

"Ah, Ms Chamuck, it's Anatis," He stated as Lady Noir turned to Theo and made sure he was ok. "Sorry to interrupt you like this but there is an akuma after Mr XY. He's on his way to the studios now so I need you to evacuate the studio. Me and Lady Noir will be there shortly,"

He hung up and walked over to Lady Noir.

"Time to go," He stated, making her nod. "You ok, Mr Barbot?"

"Y-Yeah, just a little shaken," He replied, standing up. "Thanks for saving me,"

"No worries," Anatis smiled before the two of heroes jumped down and headed towards the studio. The two landed outside the staff entrance as Alec Cataldi came out with XY. Anatis almost got distracted from the sound of XY's heart song. It was mechanical and boring. He shook his head and walked over before he gently took his arm as Lady Noir kept a look out. "Mr XY, please come with us. We have to get you to safety,"

"So what's this guitar villain gonna do?" He asked, yanking his arm free from Anatis, making him frown as he moved his hands. "Blow me away with his 'evil' guitar solo?"

"Yeah," The two heroes replied, making XY roll his eyes. Anatis took a deep breathe as Lady Noir placed her hand on his arm.

"Once we've catch Guitar Villain, we'll get you to the Eiffel tower just in time for your concert," Lady Noir smiled but XY didn't even look bother. It made Anatis grit his teeth. This guy was getting on his nerve even more with each passing second.

"Pft, who even cares?" He declared, causing Lady Noir to stare at him in surprise. Both her and Anatis were thinking the same thing. How was this guy even considered a musician? "My roadies can just project my image onto stage. Live concerts were so ten minutes ago,"

Literally as the words left his mouth, he was suddenly swooped up into Fang's mouth, causing both heroes to blink in surprise before Anatis let out a sigh as they heard XY cry out. Alec ran off seconds later, thinking the dragon come after him.

"I suppose we better go save him," He mumbled, making Lady Noir pout a little.

"Do we have?" She asked, making him chuckle. "He's so annoying... live concerts are so ten minutes ago... how lame,"

"Don't get me started, Kitten," He stated as they jumped up to the rooftops. "It hurts my soul just thinking about it,"

"Well, you are the embodiment of creativity," She giggled as they jumped across before stopping. "So we're back to step one,"

"Unfortunately," He replied, stretching. "I say we go and observe since we don't know what he has planned for XY,"

"Hmm... are you sure this isn't just you punishing Mr XY for his lack of respect to music?" Lady Noir asked, grinning. Anatis gave her a smirk before jumping to another building. The two of them landed on a building opposite the Eiffel and crouched down to observe Guitar Villain and his hostage. Fang was flying around the Eiffel Tower as fans began to arrive. There was already a number of people out there though. It looked like it would be a sell out show, making Anatis roll his eyes a little. He stopped as he noticed a plank of wood been put out on the top of the Eiffel tower. Jagged walked out and played his 'rocking riff', hitting the audience with it. He made a devil horns sign and stuck out his tongue before walking off the plank and grabbed XY, who was tied up and shoved him onto the plank. "What is he doing?"

"What he does best," Anatis replied, frowning a little as he glanced up. Lady Noir looked at him and rose a brow in a questioning way. "He's putting on a show and I think XY is the main act,"

"Does this mean we get to go backstage?" Lady Noir grinned, causing Anatis to look at her and smirk back.

"Well, we do have VIP passes," He replied, standing up. She jumped to her feet as well. "Let's gate crash this gig,"

"Rock'n'Riff, baby," She grinned before the two jumped across the roofs again and onto the Eiffel tower. They began to climb the tower as the crowd cheered and yelled. Guitar Villain appeared, standing close to the top of the tower as he watched them.

"Hello Paris!" He shouted before jumping down and landing on the plank of wood that XY was stood on. He smirked darkly, causing the younger musician to step away from him in fear. "So you said your music is the only killer music around. Is that right?!"

"I d-didn't mean it!" XY gasped as he continued to back away from Guitar Villain, getting closer to the edge as he did. "Li-listen, Mr G-Guitar... we can... do the duet your style!"

He screamed as he almost lost his footing. He looked down and gulped as Guitar Villain jumped onto Fang and flew behind him. He tapped the plank of wood, making it wobble. XY whimpered and gasped as Guitar Villain jumped off Fang and smirked at him.

"Too late," He declared, stalking over to XY. "I'm going to show you what real killer music really sounds like! Ultimate solo!!"

He began to play his guitar, causing waves of green energy to spread out from his guitar. As soon as they hit XY, they began to make the plank he was stood on bounce up and down in a violent manner, causing the man to whimper in fear.

"Stop it! Please!" He gasped as Guitar Villain kept playing. As soon as it came near the heroes, it made them almost loose their footing and when it hit the audience, it knocked a number of them down. Anatis frowned as he held onto the side of the Eiffel tower.

"XY is gonna fall," Lady Noir gasped as she gripped on part of the tower too. The solo came to a stop, allowing the heroes to be able to let go of the tower. Anatis took out his yoyo as Lady Noir stepped over to him and held onto him. He moved his free hand around her waist and threw his yoyo, grappling them up through the inner part of the tower. However, Fang swooped in and bit the string, causing the two heroes to fall. Lady Noir took out her baton and extended it, trapping inbetween the edges of the tower. She held on it and looked down as Anatis continued to fall. "Anatis!"

Fang came back around and flew over to him, causing him to throw his yoyo. The dragon snapped it's jaws around it and flew off as Anatis held on, causing Lady Noir to let a sigh of relief. He jumped onto Fang's back and wrapped the yoyo's string around his mouth so he could control him.

"Easy there, Fang," He stated, causing the dragon to look at him as a little bit of recognition appeared in it's eyes. He smiled as he made on attempt to throw him off. "Good Fang. Let's go. We have a stuck kitty to rescue,"

He pulled on the string to direct Fang, causing him to fly down and towards Lady Noir. It flew through one of the holes in the tower and underneath Lady Noir, just as she let go. She landed on the dragon and catch her baton before Anatis flew it out of the tower. He pulled the string, getting Fang to turn around and fly back towards it as Lady Noir got up.

"You ok?" Anatis asked as she held onto his arms and nodded. He glanced over at her before lifting one of his arms. "Step over here and put your arm around my waist. It will be safer for you,"

"T-Thanks," She blushed a little before moving under his arm and placing her arm around his waist so he was stood behind her. It was a lot easier for her to hold onto him this way. "So the bug tamed the dragon?"

"Fang's a big softie really, even as a dragon," He grinned as he pulled on the strings again, causing Fang to fly down again. He frowned as he glanced over at Guitar Villain and XY.

"So how do you like the concert?" Guitar Villain asked, smirking at XY who was shaking in fear. "Still think your music is the only killer music out there?"

"N-No! Please... do-don't!" XY gasped as a loud crack was heard. Anatis frowned as he looked over, noticing a crack in the plank. It wouldn't take long to break. Guitar Villain went to use his 'awesome solo' move but Anatis pulled the strings again, directing Fang over to him.

"Not so fast!" He declared, flying Fang over low enough and close enough to cause Guitar Villain to dive out of the way.

"My dragon!" He gasped as he landed on the floor before he jumped as Anatis turned Fang back around.

"Anatis! Lady Noir! Hurry!!" XY begged as Lady Noir leaned a little closer to Anatis.

"Nice job," She smiled before Anatis pulled Fang to the side to avoid Guitar Villain's attack. Lady Noir glanced over and scanned her eyes over Guitar Villain. He didn't seem to have any item on him other then his guitar, which must be where the akuma is. "I think the akuma is in his guitar,"

"I agree but it's not gonna be easy getting to it," Anatis replied as he moved the strings to dodge the attacks. "I think it's time to go backstage for real!"

She nodded as he pulled the string and directed Fang towards the tower. They crash straight into it, trapping Fang in the tower and throwing them off him. They landed on the other side of the tower's rafters before they got up.

"You ok?" Lady Noir asked as Anatis dusted himself down.

"Yeah, you?" He replied, getting a nod of her before he turned to Fang. "Sorry, Fang,"

Fang gave him a look before the two of them jumped up through the inside of the tower. Anatis threw his yoyo as they got closer to Guitar Villain and XY and pulled himself onto a platform on the outside of the tower. Lady Noir landed next to him and frowned as Guitar Villain taunted XY.

"Or is it too awesome for you?" He asked as XY yelled out in fear. Anatis narrowed his eyes as he watched the scene. As much as he didn't like XY or his music, he didn't deserve to be tormented or fall to his death. He took out his yoyo and threw it up in the air.

"Lucky charm!" He called, causing a can of hair spray to appear out of thin air. He caught it and frowned a little as Lady Noir rose an eyebrow at him. He glanced at it and read the label. "Extreme fixing gel?"

"I never knew you wanted to be a hairstylist," Lady Noir grinned as Guitar Villain began to play his guitar again. The green wave hit them, making them wobble. Lady Noir gasped and held onto Anatis as he grabbed the side of the tower and looked around in his luck vision. Guitar Villain's hair highlighted, making him smirk. "And here I just thought you were an artist,"

"What can I say? I'm a jack of all trades," He grinned before flicking his hair. "I even do my own hair. Mind lending me a paw?"

"I'm on it," She grinned, jumping up and running towards Guitar Villain. She clashed her baton against his guitar and used it to redirect his attack as Anatis climbed up on the tower before narrowing his eyes as he waited for an opening. Guitar Villain managed to get her baton out of her hands, causing it to bounce closer to XY before he directed his 'awesome' solo attack towards her.

"Cataclysm!" She shouted, holding out her hand to protect herself. The beam hit her hand but began to freak out as soon as it touched her cataclysm, allowing her to jump over Guitar Villain and power slide to her baton. She picked it up and jumped back over to him, trapping him with her baton. Anatis dived down and ran over just as Guitar Villain threw her off and began to play his guitar to attack her, head banging as he did. Anatis shook the can and jumped over him, landing in front of him and spray his hair with the hairspray. Guitar Villain yelled and dropped his guitar, trying to pull his hair out of his face as he stumbled around blindly. Anatis smirked and went to grab the guitar as XY yelled.

"H-Hey, don't forget about me!" He yelled as the plank cracked and sent him plummeting down. "Help!"

Anatis threw his yoyo and wrapped it around his leg, causing him to bounce like he was on a bungy jump. Anatis pulled the string, causing XY to fall straight onto the guitar and break it in half. The akuma escaped from it as he took out his yoyo and threw it, catching it. He pulled his yoyo back to him and pressed it, releasing the purified butterfly back into the world before he threw the hairspray can into the air and called out for the cure. It burst into the magical swarm and dashed around Paris, fixing all the damage before it swarmed around the Eiffel tower and finally XY, Guitar Villain, Lady Noir and Anatis, moving them to a safe area on the tower. Guitar Villain fell on his knees and turned back into Jagged as XY gasped. He stood up and looked around confused before he noticed the two heroes.

"Anatis! Lady Noir! What are you two doing here?" He gasped, excited before he noticed XY. "Oh... wait... you two aren't XY fans are you? I mean I can respect it if you are but I hoped-"

"What is he doing here?!" XY gasped, cutting Jagged off as Anatis sighed. Lady Noir leaned over to him.

"I don't think he remembers," She whispered in his ear as he nodded before he turned to XY.

"He came to tell you that you completely underestimated the power of his music," He explained, causing XY to look like a fish as he gaped at them,

"This guy is crazy!" He gasped, pointing to him as Jagged dusted himself down. He placed his hands on his hips and turned his head towards XY, smiling a little. "He's insane!"

"Thank you," He replied, making Anatis roll his eyes in a playful manner as Lady Noir grinned before she gasped with widen eyes.

"Oh no! I have to go!!" She gasped, causing the three guys to raise an eyebrow at her. "I have a deadline!"

She ran towards the edge and jumped off it before bouncing through the city. Anatis shook his head and turned to Jagged as he placed his hand on Anatis' shoulder.

"That's one funny feline," He grinned, causing Anatis to groan and face palm.

~Next Day~

Marinette took a deep breathe as she rode the lift up to Jagged's room. She was feeling super nervous but she couldn't tell if it was because she was about to present her art work to Jagged or because she had a date with Luka later. Well, kind of date. She wasn't sure if it was a date but she wanted it to be. However, she was still sure he only liked her as a friend but she did like him a lot. However, she also liked Anatis a lot and she knew Anatis liked her. She went bright red as she remembered him saying that he liked her but then frowned as she remembered he had to reject her. She shook her head and took another deep breathe, vowing to enjoy her time with Luka regardless of if it was a date or not. There was nothing wrong with taking things slow and hanging out as friends. Besides, she was still moving on from Adrien. It wouldn't be fair to Luka to try and date him when she was a hundred percent over her crush on Adrien. She was getting there though. The door pinged, making her gasp before she stepped out and walked over to the door. She knocked on it and smiled as Penny opened it a few minutes later.

"Hello Marinette," She smiled, letting her in. Marinette gulped and followed her as she noticed Jagged sat on the sofa next to Fang as Bob Roth paced up and down the room. She also noticed that Luka wasn't hanging out here today but she shouldn't be surprised. He was still getting to know the rockstar after all. She couldn't expect him to be here every time. Her phone vibrated, causing her to take it out and look at it.

L: Good luck, Melody. You've got this x

She couldn't help but smile as she felt more confident. She put her phone away and turned to the rockstar. Bob Roth walked over and stood next to her as she handed the cover to Jagged. He leaned over and took it off her before leaning back and looking at it. Marinette nervously bit her lip as he studied it before a huge smile came across his face.

"Oh yeah, this is it," Jagged grinned as he held it before he looked over at Marinette. "You did it, girl. I can almost smell the leather and sweat just radiating off this design,"

He held it up to his nose and sniffed it as Marinette walked over to reveal the secret she hid in it.

"You actually are smelling it," She explained nervously as Jagged looked at her. She pointed to a sticker on the design. "I concocted a special scented sticker for your album,"

"I want it! I gotta have it!" He declared, gripping the album in his hands. "It's authentic! It's original! It's... so Jagged!"

He brought it to his face and stroked it a little as Marinette smiled. However, Bob Roth did not seem impressed at all.

"No, you can't!" He declared, making Marinette frown. "It's not what the public wa-"

"Fine then I'm out of here," Jagged declared, glaring at him. "I'm sure another record company would be perfectly happy with a number 2 chart topper,"

Bob growled as Marinette handed him back the XY album, causing him to snatch it and storm off. She smiled and turned to Jagged, who was patting Fang's head. He looked up and smiled at her.

"Great job as usual, Marinette," He grinned, making her smile "We'll send you a payment soon. Your details are still the same yeah?"

"Um yeah," She gasped, not expect to be paid but happy that she was. Penny gave her a smile and led her to the door, thanking her for doing the design. Marinette smiled and left the hotel room before getting into the lift. As soon as the door closed, she jumped up and down as Plagg flew out of her purse. "I can't believe it! I just designed Jagged Stone's new album!!"

"I'm only gonna say this once so don't expect me to repeat it," Plagg replied, making her look at him as he looked to the side a little embarrassed. "I'm proud of you, Marinette,"

"Aww, thank you Plagg," She grinned, gently cupping him in her hands and kissing his head. He smiled as the lift came to a stop and flew back into her purse as Marinette took out her phone and texted Luka before smiling to herself. Today was a good day.

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

Next Chapter: Chapter 50

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jaehwany · 3 years ago

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oh i totally get it and it must be demotivating to gif/it only takes more out of your time ! personally i’ve dropped the show around ep4/5 because i don't want it to ruin my experience and i really did love the first season a LOT and i want to be able to keep it in my heart. i have so many issues with it aside from the camerawork, etc, the writing is just nowhere as robust. like idk how people are finding jaehak buttering up to junwan for the 123354084950th time endearing theyre repeating it into oblivion/there has been so much repetitiveness. it makes the characters fall from my eyes and it’s sad cause i actually used to really like jaehak? he had a lot of substantial patient interactions (like the strawberries scene/the patient that he had to pretty much beg to live) and his whole being a ‘late bloomer’ thing was quite reassuring in s1 but now he’s reduced to junwan’s fanboy. or songhwa’s off-key singing. or food monster duo with interventionist ikjun. or songhwa laughing at ikjun's lame jokes. or jeongwon’s pettiness (honestly don’t even get me started on how dirty they’ve done this character and how much they’ve watered him down for being so core to the the message of the 1st season but i don’t want to leave another essay in your asks:,). it’s become a formula like just throw one of these 'character quirks' in each episode and it’ll work!

anyway sorry about long ask!! it honestly is really frustrating for me as a prev passionate viewer to see all this glowing praise for this season when i don’t feel it at all and i personally feel like a lot about s1 went underappreciated but people are singing the praises of this lukewarm at best season instead. idk man. okay end of essay

hi again hosplay anon! yeah don't worry about it i totally understand where you're coming from. it always sucks when you're so attached and in love with s1 of a show only to have s2 completely fall apart in your eyes and disappoint in so many ways (ahem might be speaking from recent experience with ipytm here 🤪).

like i said i’m a pretty casual viewer so i definitely haven’t analysed it as much or compared it as deeply with s1 but you’re 100% on point about the repetitiveness at parts.

as a song hwa/ik jun fan going into s2, i was really so excited when they started hinting more at the set up of their relationship but then i think for 2-3 consecutive eps, i noticed they just kept using the same ONE thing to establish that - how song hwa is the *only* person to find ik jun’s lame jokes funny. and i think for 2 of those times jeong won made the exact same comment about it too. sun bin also mentions a few times about how ik jun’s the only one to make song hwa laugh etc. etc. i mean yes that’s true, but there are plenty of other reasons why they’re perfect for each other, so let’s see them!!

#anon #asks #and i think if the season is making u feel this frustrated #it's definitely a good decision that u dropped it #so that it doesn't take away from the joy and love you felt for s1 #hp rel #tagging these in case anyone would like to block it :)

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radramblog · 4 years ago

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Album Discussion- Floral Shoppe

Haha why do y’all let me do this.

It’s been almost a decade since Macintosh Plus (aka Vektroid, aka Ramona Xavier) popularised and codified vapourwave as a genre with its first actually popular release in Floral Shoppe. Since then this sub-sub-genre has developed its own subgenres and become its own flourishing marvel of internet music culture. But Floral Shoppe itself is worth examining- not to see where it all began (I haven’t even listened to Chuck Person’s Eccojams or Far Side Virtual yet), but where most people got into the genre. The lifting off point, as it were.

So grab your Arizona ice tea (don’t, it’s fucking awful) and lets dive in.

The first track, ブート(Boot), opens with a buttery smooth cymbal and saxophone line, obviously slowed down, but evoking a level of chill few songs manage to get to for their whole duration, in a total of approximately a minute. It’s a genuinely masterful piece of music. As the vocals come in, you hear them get twisted and chopped, distorted and looped, almost jolting you out of that trance, until it’s clear that the lyrics aren’t lyrics but another instrument, you get used to the nonsense, and you’re back in the zone. The looping with some of the instrumentation makes parts of it feel almost clockwork-like, in a very satisfying manner- especially as the majority of it gets muffled and you realise that opening bass/sax line has been running through the entire time. While the next track on this album tends to get most of the attention, I genuinely think Boot deserves just as much praise.

リサフランク420 / 現代のコンピュー (Lisa Frank 420/Modern Computing) is another one of those tracks where it’s just like, what could I possibly say about this that hasn’t been said. If you’re reading this, there’s basically no way you haven’t heard this song, so you know what I’m on about. It’s the quintessential vapourwave track, even if it’s showing its age a bit. It’s just so perfect. When I decided to write about Floral Shoppe, I didn’t really want to spend too much time here- me saying “hey I like this song everyone knows” isn’t the most interesting thing on the planet, I guess. I will say, it’s one of the few vapourwave songs you can actually sing along to, and that’s fun as heck.

Also, the lyric is “it’s all in your hands”, not “it’s all in your head”. To be fair, though, the distortion doesn’t help.

The album’s next track is 花の専門店 (Floral Shoppe, hey I didn’t know this album had a title song), a track that heavily relies on this really panned synth (you can’t even hear that on the left ear) and a lot of looping the same bit over and over again. Honestly, the first minute of this song gets a little grating, but it really picks up after that. It’s really fun and jazzy for a solid minute there, a lovely instrumental you can just groove to in your head. The fade out on this piece lasts wayyy too long for my liking, though- a full half minute of outro feels a little indulgent for this one.

Track four, ライブラリ (Library) is lowkey one of my favourites on the album- The slowed vocals work really well, and the instrumentation feels extremely deliberate and methodical. I think my biggest complaint with this song is just that it’s too short, considering Lisa Frank 420 is literally triple it’s length. But I suppose part of this project is how variable the track lengths are- it seems Vektroid was keen to work with these until she was out of ideas, and no longer, and I can’t help but respect that.

地理 (Geography) sounds substantially darker than the previous tracks, with incredibly low drones and a main line that… I mean I dunno how low it is but that shit is definitely in a minor key, you know. It’s also the sparsest track so far, with much more restraint in layering than anything else I can think of on the album. The atmosphere of this is heavy- I don’t know why, but it reminds me of that really creepy loading screen on the fuckin Magic School Bus goes inside the body Edutainment game. That’s probably a bit of a weird connection, but if you played that shit, you know how fucking eerie it’s soundtrack was, and that’s a bit of the vibe I’m getting from this track.

Our next track is a direct nod to Floral Shoppe’s predecessors in ECCOと悪寒ダイビング (Chill diving with ECCO), a reference to the aforementioned Chuck Person’s Eccojams Vol. 1 (itself a reference to the Sega Genesis/Mega Drive game Ecco the Dolphin), and Chill is absolutely right. While many vapour/synthwave pieces are more about entering an aesthetic or a vibe than actually listening to the music, as far as Floral Shoppe goes, that’s most true with this track. It’s also the third longest track here (behind Lisa Frank 420 and the next song), and while it doesn’t develop as much as one would hope based on that (or much at all), spending so long vibing out in a track like this is completely appropriate.

I’m going to be honest, I don’t care too much for the next track, 数学 (Mathematics). It might just be because it comes on the heels of ECCO, but the meandering in this doesn’t hit the same chord as that does. While I enjoy the saxophone on this song, all the shit going on in the background just kinda gets my anxiety going eventually. And by eventually, I mean about halfway through this near 7-minute monster. You’ve got these very chill elements that slowly get drowned out by the steadily rising and accelerating chaotic parts of the instrumentation that just take over eventually, and while it does chill back down again, that’s still a long time focussed on the worst parts of the song. This also really didn’t need to be as long as it is, considering the second half of the track is just, like, the same thing again…

We’re at track 8, and at this point I started looking at the Wikipedia page for the name translation and realising that I have no idea which song this is supposed to be. Like, the track lengths on the bandcamp suggest that this is the 2011 release and therefore this is 待機 (Standby), but it has the name of track 8 from the 2017 release, 外ギン Aviation (Foreign Banks Aviation)? This is confusing as fuck, but since this is the only track here with that issue, I’m assuming it’s actually Standby and someone fucked up somewhere. Oh right, the song itself. Well it’s fucking short, barely past a minute long, and doesn’t have too much going on. I’d call it short but sweet, it doesn’t overstay its welcome. Jazzy, loungy, kinda chill. I dunno.

て(Te) feels almost out of place on this album. I mean, the vibe is similar, but the birdsongs really come out of left field. This sounds like the track you’d hear in a video game after you’re finally out of a cave you spent hours in. If the build in this weren’t so intense, I think it’d fit right in on the Minecraft OST. That’s a compliment, for what it’s worth. It’s also worth noting this light at the end of the tunnel bit was absolutely intentional, because this used to be the final track of the album. However, there’s two more here, added in a 2012 reissue (originally they were unnamed bonus tracks), so we might as well check them out.

…under no circumstances should you check out track 10, 月 (Moon). I don’t know what vocal sample that is, but it is loud, and grating, and obnoxious, and the instrumentation is not doing enough to carry the repetition through. Holy shit, this is 6 minutes long. I’m going to be honest, I skimmed through this one, and it never changes what it’s doing. This is… a bold play, I’ll give her that, but it absolutely does not pay off. This has gotta be one of the worst songs I’ve heard in a very long time. What the fuck, Ramona?

Finally, 海底 (Seabed). This… is just like Moon, in that it’s a fucked up vocal sample that is looped over and over with little changing instrumental. The key difference is this one is less bad- the vocals aren’t as jilting, the instrumentation is chiller, and it is mercifully only 2 and a bit minutes. It’s far from good, but it’s not as immediately awful. Okay, it is pretty bad. These should probably have stayed as extras- and seeing as they apparently weren’t on the physical versions of the album (in fact a bunch of these songs changed for that), Vektroid appears to agree.

So that’s Floral Shoppe, and it’s really one of those albums that kinda drags on at the end. Frontloaded with the good shit, I suppose. Moon and Seabed aside, it’s not like anything is completely awful, but after 25 or so minutes you’ve kinda gotten the point. With that said, the album is as influential as it is for good reason- the first couple tracks are phenomenal, and once you’re drawn in by those, you’re probably going to appreciate the rest of it at least a little.

Modern vapourwave basically sounds nothing like Lisa Frank 420/Modern Computing, or Floral Shoppe at all- the genre has moved past plunderphonics almost entirely at this point, and the aesthetic has shifted to a more consistent, less memeable tone. Even Macintosh Plus is going new directions- the single released in December 2019 as a teaser for Vektroid’s next project under the name sounds nothing like this album, though it is completely fucking awesome (and completely fucking batshit). While it seems like the genre itself has moved past Floral Shoppe, though, it’s still the touchstone the majority of people, especially those unfamiliar with the genre, recognize as the herald of Vapourwave. I’m pretty sure this was the first album to do the whole pink aesthetic, marble bust, computer graphics style, and clearly that’s the style everyone thinks of when they make bad vapourwave art. That’s the aesthetic this album inspired. Long may it reign.

(Ok seriously though guys go listen to VAPERROR or George Clanton or something)

#ramble #music #vaporwave #vapourwave #america stop being afraid of the letter u

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yandere-sins · 5 years ago

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A Father’s Care

Part 1 [ - Part 2 - Part 3]

»»————-———— ♡ ————————-««

Rating: Explicit Characters: Fem!Reader, Endeavor / Enji Todoroki, The rest of the Todoroki-Family, minus Rei Word-Count: 5015

Warnings: Dub-Con, Actions that could be seen as Cheating, Molesting, Lemon, Violence against the Reader

»»————-———— ♡ ————————-««

a/n: Okay, I didn’t think this idea would get so out of hand but it ended up being way to many pages so I had to split it in two. Here’s part one and I just... ah, what did I do... Please, read with caution. (Especially part two, this one is still quite harmless...) However! It’s my Christmas present for you guys, so I hope you still can enjoy... it... to some degree, let me know what you think!

»»————-———— ♡ ————————-««

The holiday season was a joy for you. You could not remember a time you didn't like it, even with the hassle and bustle that came with the years that you grew up. Still, you always looked fondly upon the days, planning gifts and presents for your loved ones, wrapping them up nicely, and eventually giving them to your family and friends. Seeing their faces light up and maybe a tear or two when they remembered how much they wanted this or that - what else was there to make your heart swell and generate a little bit of peacefulness in your life?

You loved all the lights and twinkles around your home and the city. To decorate and make everything festive, only to sit back relax with hot cocoa and some Christmas movies, what better way to spend your free time could there be? Some people might be miffed about all the jingles and colors, but for you, the streets never looked better, never shone brighter, and were never more heartfelt than in these few Christmas days.

There had been so many Christmas parties in your life, before Christmas, and the days afterwards. Days, where everyone had been merry and joyful, laughing and singing together. It had never mattered to you what you did on these days. Karaoke, hot pot, going to a fair - everything had always been a joy. And once it was over? You looked forward to the next year. Each year the same, and yet you never got tired of it, no matter how repetitive it was.

But this year, this year would certainly not be repetitive.

This was the first year with Shoto. Gripping his hand a little tighter, you felt him squeeze back through the mittens, your head turning towards him, a bright smile on your lips. "I can't wait to celebrate with your family," you revealed, the excitement vibrating in your voice. And it was true, even with all the tension in your husband's family, you could NOT wait for your first Christmas together. It was a family celebration after all, and it would be the first you two had as husband and wife.

The wedding had only been recent, winter-themed, which was very fitting for you and him as you thought. He was partly your ice-prince after all, even if you did not just marry him for his quirk, and certainly, he did not marry you for yours either. It was way to minor anyway, probably not transferring into a child should you two ever have one. And yes, you were planning on one, maybe even… as a little Christmas wonder.

"Don't get your expectations up, I suppose it will be very mediocre," he stated nonchalantly, pulling the scarf around him a little tighter. "You know my family."

His last words were spoken in a half-amused, half-apologetic smile, and you immediately cupped his cheek, brushing your thumb over the cold skin of his. "Shoto, it will be amazing. Simply because you will be there and your siblings. We will have tons of fun and eat tons of gingerbread, it will be good."

Nodding hesitantly, he took your hand from his face, kissing your knuckles. "I hope so. I want you to have a good Christmas, [Name]."

"It'll be the BEST Christmas," you chuckled, leaning forward to kiss him. Him and hopefully his worries away.

Everything was splendid. You two were greeted warmly by Fuyumi, and even Natsuo showed up briefly for a welcome, before disappearing again. Shrugging, all of you decided to have tea, you, and Fuyumi instantly falling into chatter about how you wanted to decorate the rooms for your Christmas party and what you should cook. Shoto kept mostly quiet while you two brainstormed ideas as if there was no morning, though you always felt his reassuring touch on your back while you noticed him look around quite a few times.

"Is something wrong?" you whispered to him as Fuyumi went to get more tea water, and he sighed shortly before shaking his head, his attention shifting from you to Fuyumi, calling out to her. "Is father not here yet?" Shoto asked, and you felt the heavy tension that immediately fell over the room as the topic of the head of the family was brought up.

"Oh, well, no, he is. But he went out to find a photographer…" Shoto's sister explained, refilling the teacups thoughtfully. "A photographer?" Shoto asked, brows furrowing as the questions arose in his mind. Setting down the cups on the table again, you thanked her for the effort before she tried to explain what she knew, still somewhat vague on the topic herself.

"Yes… I think he saw it on TV that families take pictures of themselves on Christmas for postcards or something. He thought it would be a nice idea now that you and [Name]-" she made a short break to smile at you warmly, making you feel very welcome "-are married and over for Christmas. A memory, so to say."

Smiling back at her, you welcomed the idea as you found it to be quite cute. You knew not everything was okay and dandy, but you appreciated the effort Enji Todoroki tried to put into this. Shoto must have told him on some point that Christmas was your favorite holiday, and you could imagine it was because you were in the family now, that he was trying to make an effort. "That sounds like fun!" you chimed, and Fuyumi had a moment of hesitation before she grinned and nodded, agreeing with you.

From the corner of your eyes, you could see the frown on Shoto's face, but you only brushed over his arm, holding his hand, silently trying to calm him at least a little. It was still tough for him to have a good opinion on his old man, but when he sighed quietly, you knew he was trying - for you.

Admittedly, you had never lived in such a big, fancy house before. Part of you had worried it would look weird to decorate a traditional, japanese home like this, but all the more positively surprised were you that it looked quite so splendid. "[Name]-chan, should we go inside again?" Fuyumi asked, rubbing her hands together. Both of you had been outside decorating for a while now, and your breaths were visible as much as the shivers in your bones.

"Yeah, I think we're done! Sorry, I went a little overboard," you laughed it off, quickly making your way back inside into the warmth. Discarding of your outdoor clothes and shoes, you slipped into your own slippers before marching deeper inside the building with Fuyumi, you two giggling as you passed all the cheesy decoration you had put up. It had taken you the whole day, but even the inside of the house was now decorated in candles and lights, colorful bulbs, and even reindeer statues in the hallways. Everything seemed splendidly like Christmas, and you wouldn't have wanted it any other way.

You found your husband in the living room, together with his brother, under the kotatsu, watching some news program on the television. They both looked up when you entered, Shoto lifting the blanket on his lap to let you crawl into the heated table with him, your body quickly sticking up to his warm side and driving your fingers over his soft pullover. "Done already?" he asked, pulling you closer to him, and you shivered as the warmth enveloped you.

"Yes!" Fuyumi chirped, having brought some new tea for all of you and handing it out to everyone. "How do you like the decorations, Natsuo?" she asked, giving her brother a poke with her foot until he sat up to participate in the conversation. "They're flashy," he grumbled, having a sip from his tea, appreciating the aroma of it for a second before adding, "But otherwise it's quite different from usual."

"That's not bad, right?" you asked carefully, gripping into Shoto's pullover a little tighter. It was a dangerous question, really, something that could turn the mood sour in a matter of a thought. But surprisingly, Natuso smiled, shaking his head. "No, it's actually quite ni-"

"HOME!" it echoed through the halls, a booming, irritating sound. Followed by loud footsteps, you noticed how all the siblings tensed up, especially Shoto, who you leaned against. Out of respect, you sat up, hoping to not look too casually next to him as you felt his fingers this time grip into your side, almost painfully so. Natsuo's relaxed, happy expression faded from his face, a big, serious scowl coming up instead, while Fuyumi tried to keep calm, a wry smile on her lips as she let out nervous giggles.

You could hear some grumbling from outside as the footsteps approached, but it was hard to make out the actual words to the voice. All you could do was hope that it wasn't complains about the decorations when one moment to the other, the sliding door flew open, Enji's bulky figure appearing in the frame. "There you are," he grunted, letting his eyes sway from person to person. Eventually, his view got stuck on you as he noted, "Oh, Shoto, [Name]. You're already here, way earlier than expected."

No one at the table dared to say a word, while Enji's where more of a fact than really a question. So as the uncomfortableness spread, you decided you would be the one to speak up, putting on your best smile before facing him. "Oh, yeah. We actually wanted to come early and help with the preparations… and decorations," you laughed, and he nodded in understanding.

Honestly, you two had never talked much before, you had barely met him before your wedding too, so it was awkward enough talking to him, if not for the three sullen children with you at the table. "Oh… yeah, the decoration. They are…" he took a moment to look back over his shoulder into the hallway, giving it a proper inspection once more. "... quite delightful."

At that, you could barely hold your pride, giving Fuyumi a short, triumphant glance. You two had made it, you actually had decorated the house in a way the great Endeavor would approve of. She looked at you with the same happiness, and you two grinning idiots turned your attention back to Enji as he finally entered the room. Natsuo looked like he was about to jump up and run, but all of you kept your composure as Enji sat down at the table, receiving a cup of tea from Fuyumi too.

"How was it at the photographer, Dad?" she asked, and he grunted instead of a thanks as she gave him the tea, sipping on it. "He's booked for tomorrow morning, everyone should be ready by then."

A wave of agreement went through everyone in the room. However, Natsuo was the first one to break out of the family gathering after receiving the information he needed. "I got to finish up some work on my laptop. I'll go ahead first." For a second, Fuyumi tried to hold him back before releasing him, a wave of good night's falling from everyone's mouth. "We are quite tired too," Shoto noted, brushing off the warming blanket from his legs in an attempt to leave too. "[Name] did a lot of decorating, and we need to settle in."

Giving Fuyumi an apologizing look, she waved you two off, even though you felt bad for leaving her with her dad. Then again, from everyone, she had the probably best relationship with him. "You two do that," Enji mumbled, continuing sipping on his tea. "See you tomorrow then," you chuckled, trying to sound rather joyful still as Shoto led you out of the room by hand, closing the door behind you.

"Are you sure, Fuyumi will be okay?"

"She'll manage," he sighed, feeling the same kind of burden you had felt over leaving her behind.

But what you two did not notice anymore, was the look Enji sent after you two while Fuyumi told him about the decorating process and peeled some tangerines. The way he looked at you was like he seemed to know something you had yet to think about, his glare hotter than anything Shoto could produce. You were to find out soon just how different families were, even when they were celebrating something so lovely as Christmas.

"NATSUO!" it boomed through the hallways as Endeavor called for his son, who was the last one to come down from his room. The photographer, you, and Fuyumi shared empathetic glances over the loudness that shook even through bones, your sister-in-law returning your meek smile apologetic.

"It's fine! I am here!" Natsuo complained as he sprinted down the stairs, binding his tie as he walked. All of you looked formidable. Together with you, Fuyumi had rearranged some decorations to the background of your photograph, and every one of you had suited up to fit the celebration, no matter how heavy the air laid over all of you. The photographer was a sweet, older man who seemed to not be too bothered with your father-in-law's sternness, smiling at him whenever they talked even.

To you, all of this seemed reasonably normal and like a sweet family-thing to do.

But what you had gathered from Shoto last night, he seemed to view it differently, even upset his father would do something like that. Natsuo, too, didn't look too happy, deep bags under his eyes, and his jaw clenched. Fuyumi did her best to hide it, but even on her shoulders, you could see the tension, and beside you, only Enji seemed to be in a fairly good mood.

Adjusting the chair he was supposed to sit on carefully, he looked over his assembled children. Natsuo clicked with his tongue, and Shoto simply looking away as you tried to smile back at him. The photographer took his place behind the set up camera while Enji sat down. He was simply too tall to be in the photograph with all of you otherwise, and all of you squeezed together beside him, two on each side. You were sure, it would look like a great photo nonetheless.

"Ah," the old man exclaimed calmly, though you could see him pucker his mouth behind the camera in thought. "Young Lady…" he mumbled, looking up to make some eye connection with you. "Oh- Yes?" you quickly replied, feeling how the people beside you went from tense to impatient in a matter of seconds.

"You are out of the frame I am afraid… Now where to put you…" he explained, and you gulped, feeling like a burden, especially to Natsuo, who sighed heavily as the photographer thought.

"[Name]," a deep voice said calmly, and you turned to Enji, feeling Shoto's hand that he had on your back, push more into your body reassuringly. "Come sit here," he instructed, patting his leg.

If you had not known it better, you would have described it as hell freezing over. You didn't see any ice crystals coming from Shoto, but you felt the temperature drop quite a few degrees around you as the offer went through to you. "O-Oh, Dad! Maybe I should-" Fuyumi tried to save the situation, but she was quickly interrupted by her father.

"No. This way Shoto can be by her side still, and we will have the numbers even on the photo. Come on."

He patted his leg again - strictly and without a chance of refusal - and all of you siblings shared a surprised and shocked moment of quietly looking to each other. Even Natsuo seemed to have very mixed feelings clearly written in his face. But you gave yourself a push, deciding you would not be the one to ruin the family's Christmas by any means. He was sort of your father, after all, there was nothing weird about sitting on his lap - right?

Pushing the skirt of your dress down, you stepped inside his spread legs, seating yourself very far out on his knee and holding yourself as best as you could so you wouldn't weigh down on him. It was a surprisingly comfortable seat his leg spacious to sit on, even when the situation still seemed strange in your mind. Shoto's hand wandered from your back to your hand farthest from Endeavor, holding it tightly in his. His skin was ice cold, which was nothing new, but you seemed to notice it more now that there was quite such an awkwardness in the air.

When you thought you had settled quite nicely, you looked up again, nodding to the photographer who proceeded to get back to his camera. However, before even the first shot could be made, a large hand came around your hip, roughly yanking you towards your father-in-law. You took it in the best way you could, holding back a squeal. But reflexively, you had reached up your hand to support you, feeling a warm body under the tight dress shirt Enji was wearing. His muscles had never been so prominent to you than in that moment, but you snapped out of it immediately as you felt Shoto's hand restricting around yours tightly.

"Father-" he started, sounding like he was spitting poison rather than talking.

"No reason to be shy. We are family, right?"

With an open mouth, you started to nod, using your hand to pat Shoto's calmingly, shrugging it off to keep the situation calm. "It's fine, it's fine. Was just a surprise!"

He looked at you for a few, meaningful seconds before you could see him relax a little, stepping back and nodding. The photographer went back to his preparations as everyone settled in their position again. Even though you too put on your best smile, your thoughts were rampaging in your mind as you felt Enji's hand not budging from your hips.

While you had always admired Shoto's delicateness, this was so different that you could not help yourself but notice. Even with just one hand, you felt secured in his grip, even ignoring the lingering feeling of his palm against your buttcheek, sometimes massaging a little into your flesh. And though only your shoulder was leaned against him, there was an energetic drumming of a heartbeat running through you. A heartbeat so differently, so wild and overwhelming, it was nothing you had every synched yours too before. It was almost threatening to you and yet, thrilling. Like watching a very good movie, it was hard to focus on anything else.

"Everyone say 'Cheese'!" the photographer instructed, and you momentarily snapped out of your entrancement, blinking and grinning like the Christmas-enthusiastic-idiot you were. The camera shut once, everyone blinking a sigh of relieve. "Halt!" it boomed from the head of the family as you started to sway while Enji adjusted, sitting even more towards you and pressed up to you now. "I would like a few pictures so I can choose properly," he explained calmly, and the photographer smiled at him while you heard Natsuo sigh deeply.

Getting yourself ready again, you very faintly noticed Endeavor's free hand coming down to your knee, the other one still around your body to keep you in place. You fretted not having worn tights that day, but his hand rested calmly over your leg while you wondered if he could feel any stubble from shaving the day before. In fact, it laid warm and heavy on your limb, restricting your movements further and making you slightly turn away from your husband for the sake of accommodating the hand.

That one… was big too. It felt scruff against your skin, but its fingers wrapped nicely around your leg. Only now, you also realized you sat so close, Enji's head was right above yours. You were totally and fully enveloped by him, and you instinctively shifted a little more in his hold until a sudden, small groan caught your intentions. Apologetic, you looked up, ready to apologize for fidgeting so much when you met his sharp blue eyes, which looked down at you in a way you could not quite understand, other than it made you freeze.

Smiling weakly, you turned your attention forward again as best as you could, clearing your throat quietly as to not pull any attention and sat up straight. The pressure on your leg grew as the camera shutter did a few more takes, your legs slowly but surely and unwillingly spreading apart until there was no more room to go. Enji's hand was overtaking most of your lap as he slid it up further. Like you were sitting on his, so he was touching yours.

Until you felt it clearly against your leg.

A resistance.

In between the takes, you took one second to look down, seeing your knee was as far up as his crotch, pushing into it already and held there in position by your father-in-law. There was a creeping feeling on the lower side of your inner thigh as Enji noticed your concern for the position, fingers crawling upwards, soon covered by your skirt.

Nervously, you started to stir in his hold, but what you had previously admired, was now what kept you from going anywhere. 'Oh god,' you thought, biting your lips as the need to just jump up and back into Shoto's arms arose. This was your own family, but surely… to anyone, your position would seem wrong. Latest when you suddenly felt something throb against your leg was when you were ready to bail.

You spared one more glance into the direction of the throbbing. It was like the worst nightmare come true as you could see - even through the black dress pants - a bulge grow beneath the fabric. Every time Enji so much but took a deep breath, it pressed up to you, rubbed against your skin. You were no child, and neither was Endeavor, so you knew what that was, but when you looked up, his eyes were straight ahead, in all seriousness.

Taking a deep, quiet breath, you looked ahead again, too, trying to smile once more. If… he didn't notice, maybe it was all a misunderstanding? Perhaps you were just overreacting and daring to destroy a perfectly lovely family gathering because you were overthinking? So you got a grip on yourself, telling yourself to stop being an idiot and tried to ignore it.

The camera seemed to never stop as you kept your thoughts on positive things. Shoto, the decorations, Christmas! Right, you would not be the one to ruin everyone's holidays because of that little bit of inconvenience from you. Even when his hand crawled a little further up under your skirt, you still ignored it, gulped, and continued to smile. You even ignored the tip of his pointer finger against your sex, poking at it carefully while you tensed. His hand on your hip tensed too, pulling you closer and keeping you immobilized as if he was afraid of you jumping up and go.

The only thing you heard after a while was a grumbling in his throat next to you, resembling a chuckle before he pulled at your leg, pushing it even deeper in his own crotch region. By now, the bulge wasn't just big, it was enormous, fabric spreading all around your leg while you felt the hard inside rub against it. At the same time, he used his finger to swipe over your panties, hitting places he wasn't supposed to, causing you to let out a high-pitched squeal with your closed mouth, clutching Shoto's hand tightly out of reflex.

And then it was all over.

As if nothing had ever happened.

The pulling and squeezing up to his body vanished, and you were let go from his hold. No fingers or fabric against your leg and the camera slowly stopping taking more pictures while the siblings breathed a sigh of relieve. "Alright, folks. I think that's it!" the photographer laughed heartily, and you almost desperately jumped up from Enji's lap, stumbling back to Shoto's side, who gave you a questioning look. Surely, he had noticed the squeeze of your hand before, and your cheeks were colored oddly for a photo shoot after all.

Releasing your lip from your bite, you smiled at him reassuringly, hugging his arm and giving his cheek a kiss. As if you needed to reassure him when in reality, you were reassuring yourself. Even now, you still didn't want to believe what had happened, but it burned into your mind. Though you tried finding reasons such as age and just coincidence, you were still not convinced about Endeavor's real intentions, and you smiled sheepishly at him as he stood up and gave you a spare sideglance. One that, much to your own dismay, made your blood boil.

"I think I need a nap," you conveyed to Shoto, and you gained a confused look form him as he asked if you were okay. It was still early, after all. "Yeah, just… a little weird."

Looking back at your father-in-law, you saw him discuss the further production of the pictures with the old man, Fuyumi eagerly at his side, hoping to see some of them. "Well, that was strange," Natsuo mumbled as he passed you two, sneaking out of the room before any other 'stupid' ideas he would have to be involved in could rise. Nodding to yourself, you agreed with him, ready to leave too. With how complicated you were feeling, you wanted nothing more than go and rest for a while, sorting this mess out.

"Well, if you will excuse me…" the old man mumbled, grabbing his suitcases with the camera and bowing lightly to you. Fuyumi led him outside, and you and Shoto followed to see him off. Behind you, you were terribly aware of Endeavor's presence, and you let go of Shoto so you two could hold up with his chipper sister.

However, the moment Shoto was out of the door, you felt a yank at your shoulder, a familiar, big hand holding you back. "I have some decorations stored in my room. You should come and get them," Enji grumbled from behind you, sounding more like an instruction than a piece of helpful information. "O-Oh, I will do that later, Sir," you mumbled, smiling awkwardly back over your shoulder and meeting his sharp gaze.

"Don't take too much time," he grunted and passed you by. "Y-Yes…" you whispered, feeling incredible meek all of a sudden. His hand left your shoulder, and all of a sudden, you felt freezing without his body heat close to you. As if someone had just robbed you of your own warmth, and also clear thinking, you found yourself seeking the warmth.

Hugging yourself, you took a few deep breaths, feeling the pressure of having to go after Shoto or else he'd be worried, but barely able to walk. And then, you realized something that gave you a slap of shame over your head. You couldn't be surprised, but you felt the wet fabric between your legs, your head giving you short memories of the feeling of Enji's big fingers rubbing and poking right there. His heartbeat was like a metronome in your head, pounding and pounding in your ears, and you wondered if your heart ever could feel like that. You could imagine it clearly still, and it worried you immensely that you could not help but think about that huge, immense bulge against your knee. Even wonder about what was beneath these black dress pants.

Feeling your own body heat return to you, especially in your cheeks and ears, you quickly banished the thoughts, reminding yourself of exactly what you were thinking about. Of course, sometimes, these kinds of thoughts would come up when faced with something very different you were used to. It calmed you as you reminded yourself that you had surely wondered before what other celebrities were packing, it was… instinctual. Yes, instinctual.

"[Name]? Are you okay?" your lover's voice rang out to you, Shoto's frame appearing in the doorway. Immediately, your heart jumped in joy of seeing him, and you were relieved of the change of mind it gave you. You loved him so much. And you loved Christmas! To be together with him was all you wanted, and no little incident - no matter how weird and awkward it was - could stop that. "I'm fine!" you assured, jumping to his side and kissing him.

"I love you so much," you muttered to him, and his forehead wrinkled for a second over the spontaneous confession before his lips quirked upwards into a smile.

"I love you too."

You shared another, long, passionate kiss with him, sinking in his arms that he wrapped around you, knowing this was right where you belonged. This was what made you happy and thankful, and you were eager to show just how amazing Shoto could make you feel. A chuckle was enough to signal him just what you wanted, his body pressing up to yours quickly before he took you by the hand.

No one said anything when you two excused yourselves for a few hours to take a nap. However, you felt Enji's eyes drill into you while you, Shoto, and Fuyumi were conversating about the times you would be eating and needed to be up again to help. With a wave, you two said your farewells, for the time being, shutting the door behind you as you left the living room. It was a freeing feeling of the two orbs that seemed to not have let go of you as you were still in Endeavor's sight, uncomfortable and nerve-wracking for you. But you forced yourself to think about nicer things, like your husband at your side. And as he wrapped an arm around you, you leaned against his shoulder, you sighed blissfully.

Only for a moment, you couldn't help but notice the feeling of something missing. But how could you have ignored it?

Shoto's hand was just so much smaller than his.

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