#Shaffer is sleep deprived

[ofhouseusher]

guess who’s back to King’s Landing

[pickledwombat]

let me tell you, starting pride and prejudice while sleep deprived is a different experience than starting amadeus sleep deprived. they both make you question your sanity, sure, but one of them does it through long paragraphs sentences and the other one is amadeus which I will not describe the opening of go pull an all-nighter and read the fucker yourself

[rudysrings]

I saw ur post and I wanted 2 say hi :) also I'm vee and I have like a million crushes bc I'm a hopeless romantic (lol) and I just really want to gush over Tom Holland and Hunter Schafer bc they make me melt. sorry thus is kind of all over the place but it's late n I'm kinda tired and really out of it but I just really wanted to say hello!

HELLO HELLO HELLO Vee!

Thank you so much for stopping by to say hi! Tom Holland is bby and I could fish over that boi and his hands and his smile forever 🥺

Hunter Shaffer is literally the entire sun and I want to kiss her hair so bad I-

You’ve amazing taste my friend gotta say👏👏👏

No worries at all! Ur so much more coherent than my sleep deprived ass lmao! Get some sleep 💕💕💕💕and thanks again for saying hello lovely! I appreciate ya sm

[inspirationaldump]

Terence Fletcher: I don't think people understood what it was I was doing at Shaffer. I wasn't there to conduct. Any f***ing moron can wave his arms and keep people in tempo. I was there to push people beyond what's expected of them. I believe that is... an absolute necessity. Otherwise, we're depriving the world of the next Louis Armstrong. The next Charlie Parker. I told you about how Charlie Parker became Charlie Parker, right?

Andrew: Jo Jones threw a cymbal at his head.

Terence Fletcher: Exactly. Parker's a young kid, pretty good on the sax. Gets up to play at a cutting session, and he f***s it up. And Jones nearly decapitates him for it. And he's laughed off-stage. Cries himself to sleep that night, but the next morning, what does he do? He practices. And he practices and he practices with one goal in mind, never to be laughed at again. And a year later, he goes back to the Reno and he steps up on that stage, and plays the best motherf***ing solo the world has ever heard. So imagine if Jones had just said: "Well, that's okay, Charlie. That was all right. Good job. "And then Charlie thinks to himself, "Well, shit, I did do a pretty good job." End of story. No Bird. That, to me, is an absolute tragedy. But that's just what the world wants now. People wonder why jazz is dying.

I'll tell you, man - and every Starbucks "jazz" album just proves my point, really - there are no two words in the English language more harmful than "good job".

Andrew  But is there a line? You know, maybe you go too far and you discourage the next Charlie Parker from ever becoming Charlie Parker?

Terence Fletcher No, man, no. Because the next Charlie Parker would never be discouraged.

Andrew : Yeah.

Terence Fletcher:’ The truth is, Andrew, I never really had a Charlie Parker. But I tried. I actually fucking tried. And that's more than most people ever do. And I will never apologise for how I tried.

Whiplash

[chewinggumheadongrass]

Fletcher : Truth is, I don't think people understood what it was I was doing at Shaffer. I wasn't there to conduct. Any fucking moron can wave his arms and keep people in tempo. I was there to push people beyond what's expected of them. I believe that is... an absolute necessity. Otherwise, we're depriving the world of the next Louis Armstrong. The next Charlie Parker. I told you about how Charlie Parker became Charlie Parker, right?

Andrew: Jo Jones threw a cymbal at his head.

Fletcher: Exactly. Parker's a young kid, pretty good on the sax. Gets up to play at a cutting session, and he fucks it up. And Jones nearly decapitates him for it. And he's laughed off-stage. Cries himself to sleep that night, but the next morning, what does he do? He practices. And he practices and he practices with one goal in mind, never to be laughed at again. And a year later, he goes back to the Reno and he steps up on that stage, and plays the best motherfucking solo the world has ever heard. So imagine if Jones had just said: "Well, that's okay, Charlie. That was all right. Good job. "And then Charlie thinks to himself, "Well, shit, I did do a pretty good job." End of story. No Bird. That, to me, is an absolute tragedy. But that's just what the world wants now. People wonder why jazz is dying. I'll tell you, man - and every Starbucks "jazz" album just proves my point, really - there are no two words in the English language more harmful than "good job".

Andrew: [pause] But is there a line? You know, maybe you go too far, and you discourage the next Charlie Parker from ever becoming Charlie Parker?

Fletcher: No, man, no. Because the next Charlie Parker would never be discouraged.

[inspirationaldump]

Terence Fletcher: I don't think people understood what it was I was doing at Shaffer. I wasn't there to conduct. Any f***ing moron can wave his arms and keep people in tempo. I was there to push people beyond what's expected of them. I believe that is... an absolute necessity. Otherwise, we're depriving the world of the next Louis Armstrong. The next Charlie Parker. I told you about how Charlie Parker became Charlie Parker, right?

Andrew: Jo Jones threw a cymbal at his head.

Terence Fletcher: Exactly. Parker's a young kid, pretty good on the sax. Gets up to play at a cutting session, and he f***s it up. And Jones nearly decapitates him for it. And he's laughed off-stage. Cries himself to sleep that night, but the next morning, what does he do? He practices. And he practices and he practices with one goal in mind, never to be laughed at again. And a year later, he goes back to the Reno and he steps up on that stage, and plays the best motherf***ing solo the world has ever heard. So imagine if Jones had just said: "Well, that's okay, Charlie. That was all right. Good job. "And then Charlie thinks to himself, "Well, shit, I did do a pretty good job." End of story. No Bird. That, to me, is an absolute tragedy. But that's just what the world wants now. People wonder why jazz is dying.

I'll tell you, man - and every Starbucks "jazz" album just proves my point, really - there are no two words in the English language more harmful than "good job".

Andrew But is there a line? You know, maybe you go too far and you discourage the next Charlie Parker from ever becoming Charlie Parker?

Terence Fletcher No, man, no. Because the next Charlie Parker would never be discouraged.

Andrew : Yeah.

Terence Fletcher:’ The truth is, Andrew, I never really had a Charlie Parker. But I tried. I actually fucking tried. And that's more than most people ever do. And I will never apologise for how I tried.

Whiplash