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nosebleedclub · 4 years

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The Dark Suburb

((Posting again because the original post on June 11th, 2017 6:09pm is no longer available due to me deleting and re-making this blog.))

This is a compilation post of Nosebleed Club prompts from 2015-16 revolving around the concept of “the dark suburb.”

Family Melodrama

something is wearing your mother

oh god his intestines strung up on the christmas tree

your dog’s body all over the house

banging on cellar doors

a creaking sound in your dead sister’s bedroom

warriors with spears and shields painted on the dining room ceiling of a violent family’s mansion

a woman in an expensive coat and an expensive car headed to her nephew’s funeral

coming home to a completely alien mother

getting a doberman on christmas morning that won’t let you leave the house

the reason your parents fled the city to live in the suburbs

summers in palermo where your father was looking for something

mother’s breakdown in the supermarket

the supernatural car you and your twin got for your 16th birthday

parents strangely and deeply interested in the boyfriend you brought home

a mom urging her son to quit basketball; she senses something is not right

all the holes - dozens of them - your mother dug in your backyard

grandparents hiding the reason your parents are away during your winter holiday break

your best friend doesn’t want to go to your house anymore

grandpa’s ghost followed us into the new house

dad hates her bc she killed her twin in the womb and then her mother

Do I Love You?

your boyfriend’s basketball shorts, his boy-aroma, his ghost between your legs when you watch the video of his last game

girls kissing in a gas station convenience store and a third recording them on snapchat

the boy you like drawing flowers on your ap biology practice test when you switch tests with him to grade

walking across a supermarket parking lot by yourself thinking of a boy you love

red mouth

girlfriend scrubbing the blood off her arms in the bathtub

in a tiny white house in florida, sitting on a beer-can-covered counter, legs spread apart, a boy between them

in a drug-induced haze i left home for his semi truck

he never fucked me without his ski mask on

a girl and a girl and claw marks on the door“don’t ever take me back”

The Occult

the incantation that annihilated a whole suburb

a body that drags other bodies into an oven

the witches gathering in the red lake

inhuman sacrifice

dogs gathered at the edge of town refusing to cross the boundary to the outside

a 10 year old girl with memories of a serial killing spree that occurred when her parents were children

white shirts hanging on branches all over the woods

the town of three-eyed children

arrows raining down on a soccer field

feeding time

mysterious scratch marks on your back

a fairy ring in the field where your sister disappeared

Crimes

just throw it in the back

snap!

we found the body but not the head

clearing in the forest where police found a blessed severed head

jar of baby teeth as evidence

children dressed as angels at the crime scene

seeing a face you thought you buried ten years ago at the supermarket

half a fraternity frozen under a lake

fbi agents rolling into a tiny town in appalachia

a severed arm among the hydrangeas

young men howling on the bridge one year after the murder

police cars prowling through your neighborhood, one after another - watching this from your bedroom window

Teen Dream

getting whipped by a towel in the locker room

best friend making the varsity tennis team

taking a shot of vodka in the bathroom after second period

boy gets a boner during gym class

“i’ll be like helicase i’ll unzip them genes (jeans)”

drunkenly reciting the quadratic equation

fear-mongering homecoming queen

track star died in a car accident

dead bodies photography club

“sorry i fucked up here’s some ice cream” “i’m lactose intolerant you douche”

article about demonic possession in the school newspaper

last pool party before summer ends & her hand on your thigh in your dad’s sports car

the first day back from summer vacation & someone in your friend group brings the whole #squad starbucks

a bonfire, lana del rey & drake blasting, the moon

weekend road trips to the ocean

walking around on the track alone, contemplating some philosophical concept you read about on tumblr the night before

coming out to someone completely random - a junior varsity basketball player

the last homecoming dance

lying on the track at your high school after sunset

getting picked up really early in the morning to go on a spontaneous weekend road trip

the sunday after the homecoming dance where you’re kinda tired kinda still energetic from the night before

inside a fast food restaurant drinking milkshakes eating fries until it closes

chill basement party where there’s white balloons gold confetti / glitter two girls who love each other kissing

sitting in the backseat your parents occupying the front of the car you look out the window you see the rural countryside crawl by

pool pizza party at night simple pleasures like that

on the bleachers during a powderpuff football game

sweating so much you might as well have been swimming it would be embarrassing but all the other boys are sweaty too

lost in the suburbs at like 5am and the world is still pale blue

lost in the city at 5pm the sun sinks its head behind skyscrapers

fights on the lawn of an all boys private school

applying makeup the morning after a breakup

huge friend group made up of oracles + boys’ swim team + legendary heroes + valedictorian

aesthetic blogging on a sunday afternoon just chillin in your bedroom

feeling like you could be something big if you work hard enough at it

getting psychoanalyzed by your teachers and parents and extended family

school bathroom pale blue tiles

a dream with damien hirst-esque elements

sleepover at your friend’s villa and you’re the only one awake

looking out at a black sea from your dead cousin’s bedroom window, seeing a light in the distance

funeral mass

chill that runs down your friends’ spines when you enter the classroom the morning after they tried to kill you

the sickness that spreads through the high school

sometimes i was a body in a dump sometimes i was a saint

he said he’d snapchat my burning body to all his friends

my body was evidence she was trying to get rid of

poison disguised as an eighteen year old

a world war between us

$$$

first: “super rich kids” by frank ocean

fast cars flecked with blood

girls who know you won’t be prosecuted if you’re young and rich and pretty enough

snapchat of a boy with red eyes and a glass of dom perignon with the text IS MY LIFE FUCKING REAL

snapchat of a girl’s dad’s black amex with the words MONEY CAN’T BUY HAPPINESS BUT IT GETS CLOSE

taking your middle-class friends out to nice restaurants but knowing they’re with you mainly for the money

“dude i know you’re only a year older than me but sometimes i think of you as my sugar daddy”

traveling to punta del este to find yourself but losing yourself instead

identifying heavily with the versace logo

an imperial bedroom and all one feels is the weight of all that empty space

“even my funeral has to be luxurious”

Hometown Visions

three dead owls on the side of the road

trees bare, houses barren

lanterns lit up on the dirt road at night

moths in a forgotten shed

a dusty old attic filled with dead rats and flies

seeing half your face in a splintered mirror. washing machine making dangerous sounds

midwest: watching a tornado funnel form from a window that won’t shut all the way

grass in the yard growing tall

girls carrying stray cats home

a cellar door swinging open and a man you never wanted to see ever again stepping through it, into the light

snake skins and insect carapaces organized on a torn mattress

a lovely place god abandoned

bat-filled house at the end of the street

a girl crawling out of a burning car

birds in jars

Hide & Seek

not being able to find anyone in a dark forest because they actually left you and it was just a cruel prank

person seeking you is something much worse than what you thought they were

being trapped in your hiding space & no one can find you no matter how loud you call for help

hiding in your friend’s house and finding evidence of a vile crime their parents committed

finding half of your friend

#prompts #nosebleedclub #from the nosebleedclub archive #dark suburb

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bananaofswifts · 4 years

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By : Callie Ahlgrim and Courteney Larocca

Taylor Swift released her eighth studio album, "Folklore," on Friday.

Swift surprised fans by announcing its release just one day in advance — and less than one year after the release of her acclaimed seventh album "Lover."

"Most of the things I had planned this summer didn't end up happening, but there is something I had planned that DID happen," she wrote on social media. "And that thing is my 8th studio album, folklore. Surprise!"

She described "Folklore," stylized in all lowercase, as "an entire brand new album of songs I've poured all of my whims, dreams, fears, and musings into."

Much of the 16-song tracklist — 17 on the deluxe edition — was cowritten and produced by The National's Aaron Dessner. Smaller pieces were cowritten by Bon Iver, Jack Antonoff, and someone named William Bowery. Antonoff also produced five songs.

Insider's music team (reporter Callie Ahlgrim and celebrity and music editor Courteney Larocca) listened to the new album on our own, jotting down our initial thoughts track by track.

Almost immediately, we were forced to reckon with the fact that "Folklore" might be Swift's best album yet — potentially even better than "Red," which previously seemed like it couldn't be topped. We were stunned with the mature, poetic, stunningly understated collection of new songs.

Here is what we thought of each song on "Folklore" upon first listen. (Skip to the end to see the only songs worth listening to and the album's final score.)

"The 1" is the best album opener Swift has had in years.

Ahlgrim: "I'm doing good, I'm on some new s---" is a wild way to begin a new Taylor Swift album. This is going to be different.

This is easily the best intro song she's released in years. "The 1" far surpasses "I Forgot That You Existed" on "Lover," "...Ready for It?" on "Reputation," and "Welcome to New York" on "1989" in terms of sheer quality.

It's also an engaging scene-setter; I find myself gently rocking back and forth, eyes closed, smiling without realizing. It's only the first song and so far, I am totally grasping the woodsy aesthetic of this album. I'm already ready for more.

Larocca: I would argue that there hasn't been a strong album opener on one of Swift's albums since "State of Grace" on "Red" in 2012. "The 1" breaks that curse.

I was vibing from that very first piano note, but when Swift comes in and warmly delivers the first line of the album — "I'm doing good, I'm on some new s---" — it became evident this project wouldn't be anything like the rest of her discography.

As far as "The 1" goes as a standalone song, it's incredibly solid. Swift has a breezy attention to rhythm as she paints a tale of a the-one-who-got-away romance. I truly, truly love it. This might end up being an all-time favorite track.

"Cardigan" is beautifully influenced by Lana Del Rey.

Ahlgrim: I heard "Cardigan" first because I watched the music video before I listened to the album.

Right off the bat, I was struck by the Lana Del Rey melody in the chorus; I jotted down "folksy 'Blue Jeans.'"

Swift has actually cited Del Rey as an inspiration in the past, so this makes sense — and that particular shade of nostalgic, haunting glamour really works for Swift's voice, so I'm overall very impressed with this direction. I am more than amenable to a "Red" meets "Norman F---ing Rockwell!" album experience. On my second time around listening, sans music video, "Cardigan" already feels richer coming after "The 1."

This time, I'm struck by small lyrical details like "Sequined smile, black lipstick," a clear callback to her past eras, and "Tried to change the ending / Peter losing Wendy," an effective way to evoke young love and innocence lost.

I also think the song's central refrain, "When you are young they assume you know nothing," is clean and sharp and — especially given Swift's public struggles with sexism and years-old contracts — extremely poignant.

Larocca: I had the thought that Swift listens to Lana Del Rey after hearing "Miss Americana and the Heartbreak Prince" on last year's "Lover," but now I know for sure that Del Rey is an influence on Swift.

While "Cardigan" isn't what I thought this album would be like sonically, I'm overjoyed at how clearly singer-songwriter this album already is. I've been waiting years for Swift to make a lyrical marvel set to acoustic, warm, folksy instrumentals and it's here.

(And while I expected something different sonically, I am not mad at all by the backing instrumental choices here.)

"The Last Great American Dynasty" proves Swift is a natural storyteller.

Ahlgrim: Personally, I love Storyteller Taylor, so this is quite literally music to my ears.

There are so many delicious details here to unpack. The first verse, with its subtle sexist whisperings about Rebekah Harkness ("How did a middle-class divorcée do it?" and "It must have been her fault his heart gave out"), is a truly savvy way to set up for the song's eventual reveal.

Rebekah spent her time partying with friends, funding the ballet, playing card games with Salvador Dalí, somehow "ruining everything" — and her Holiday House was "free of women with madness" until Swift herself moved in.

That twist in the bridge is poetic genius. When the final chorus adjusts to the present day, underscoring the parallels between Rebekah and Swift, I'm forcefully reminded of an iconic bridge when Romeo finally proposed and changed everything — but Swift has evolved past daydreams of pure white dresses and fathers giving permission.

Larocca: I'm immediately taken back to 2012's "Starlight" when "The Last Great American Dynasty" starts. Thankfully, this song ends up being a lot better than "Starlight," which always felt more like a filler track on "Red" to me.

I love a lot here: the casual use of "b----," the acute attention to detail ("She stole his dog and dyed it key lime green"), and every version of this line: "There goes the maddest woman this town has ever seen."

I had a marvelous time listening to this song.

"Exile," featuring Bon Iver, is one of Swift's most successful duets to date.

Ahlgrim: Swift and Bon Iver, aka Justin Vernon, are two of the best songwriters alive today, so this song was destined to be breathtaking.

Swift has historically had difficulty allowing her voice and vision to coexist with a featured artist; her collaborations often leave me feeling like she should've just delivered the whole song herself.

But Swift and Vernon were able to weave their lyrics together so gracefully, I was left feeling grateful for his presence. His rich, rustic tone and those iconic hummed harmonies lends the regretful song an added coat of sincerity.

The production here is generally fine, but the layered instrumentals in the ending really bring the song together. I love a dramatic exit.

Larocca: When I see a "featuring Bon Iver" on a track, I instantly assume Vernon is going to come in with his high falsetto. So it was almost jarring that the song starts with Vernon sounding like a lumberjack dad who hasn't left the woods in a decade.

That didn't end up being a detriment, though. Swift sounds delicate on her verse, and their vocals contrast nicely later on the track.

This one also brings to mind her collab "The Last Time" with Snow Patrol's Gary Lightbody. The line "I think I've seen this film before and I didn't like the ending" is also reminiscent of "If This Was a Movie."

I'm obsessed with the clear influences Swift's previous discography had on these tracks, which have also so far felt completely unique to her catalog.

"My Tears Ricochet" is an extraordinary display of Swift's songwriting powers.

Ahlgrim: First of all, "My Tears Ricochet" is an incredible song title. Let's take a moment to appreciate that.

In fact, pretty much every line of this song is arresting.

Much of it feels both familiar and rare, like you know exactly what Swift is singing about, but hadn't thought to put it in those words before — which is, in my opinion, the mark of any good piece of writing but especially a breakup song. You can relate to the emotion, if not the particular details. You can hear the pain. It almost plays like a funeral march.

What a gift it is, what an exhilarating experience, to feel like you're listening to a poem being recited in real-time.

Larocca: Any true Swiftie knows that track five is reserved for the most vulnerable moment on the record, so I went into "My Tears Ricochet" ready to be sad.

I am endlessly impressed with how Swift managed to bake the word "ricochet" into this song so effectively. She also ditched her traditional song structure for this one, and instead built the track from peak to peak, utilizing clever lyrics along the way to tell an epic, devastating story, almost obviously calling back to the most beloved track five of "All Too Well."

I'm calling it now — this one is going to age like a fine wine. As all of Swift's best breakup ballads do.

"Mirrorball" is several strokes of genius.

Ahlgrim: This song gives me intense Clairo vibes, and I mean that as a very high compliment.

It's so fun and refreshing to hear Swift slip into different musical styles, and this shimmery take on alternative-bedroom-pop highlights her soft vocals and nuanced songwriting supremely well.

Also, my Leo sensibilities are fully under attack by this bridge: "I've never been a natural, all I do is try, try, try / I'm still on that trapeze / I'm still trying everything to keep you looking at me." Oof! Just tag me next time.

Larocca: This one is so pretty! Swift's vocals sound better than ever as she spins on her highest heels across a glittery daydream.

"I'm a mirrorball / I'll show you every version of yourself tonight" might be the thesis statement of this entire album. So far, "Folklore" feels both diaristic and vague; detailed and completely anonymous.

Fans will be debating for years whether this album is about Swift's own life, or if it's simply really great storytelling pulled directly from her own mind. In the end, it doesn't really matter.

Because as all of Swift's best songs do, these songs will attach themselves to listeners in completely new ways, showing them elements and stories from their own lives.

"Seven" is pure whimsical magic.

Ahlgrim: This is playing make-believe in the garden when you're too young to feel self-conscious; it's poetic and nostalgic and full of awe in such an unpretentious way.

I wouldn't change one thing about this song. Swift's whispery high register sounds divine, and at this point in the tracklist, her rhythmic delivery in the chorus hits like a shot of espresso.

Right now, I'm wondering if it's possible for Swift to maintain this intrigue and momentum for another nine songs. There hasn't been a misstep to speak of, and I remain wholly beguiled. Can it last?

Larocca: The beginning of "Seven" sounds like Swift listened to Marina's "Orange Trees" on repeat before showing up to her songwriting session. Fortunately, "Orange Trees" is the only song I like on Marina's "Love + Fear" so I will gladly accept this inspiration.

Swift continues to impress with both her vocals and her sense of rhythm on "Seven." I also personally love space imagery so the line "Love you to the moon and to Saturn" is a standout line.

"August" will go down as one of the best songs in Swift's extensive repertoire.

Ahlgrim: I'm immediately catching hints of Phoebe Bridgers and girl in red in Swift's delivery. And I simply adore the idea that Swift has spent the last few months sitting at home, daydreaming about summertime humidity and listening to music by queer indie-pop girls.

In an album full of songwriting expertise, this song has some of Swift's best lines yet: "August sipped away like a bottle of wine / 'Cause you were never mine" actually hurts me.

In my notes, there simply sits this valuable insight (yes, in all-caps): "WANTING WAS ENOUGH. FOR ME IT WAS ENOUGH TO LIVE FOR THE HOPE OF IT ALL." This song has my favorite bridge on the album so far.

In terms of production, "August" is exquisite. It's lush and layered without feeling overwhelming at any point. It builds to the perfect level then recedes, like a wave.

Also worth mentioning: It can now be considered a historical fact that any time Swift mentions a car or driving in one of her songs, it's a perfect song.

Larocca: While listening to "August," I texted Callie and said, "I can't wait to finish the album so I can relisten to 'August.'" It's an instant favorite.

This is also the first track on the album that seems directly inspired by our current state. Not because she's expressing fear or singing about being bored at home, but because she so easily slips into a reflection of a relationship that ended years ago with a newfound wave of wistful nostalgia.

When quarantine started, it seemed like a million lifestyle articles came out explaining why everyone suddenly felt compelled to text their exes and why we're so invested in looking back instead of forward right now.

"August" validates those feelings with zero judgment, letting its listener know that yes, it's totally normal for you to be overanalyzing that quasi-relationship you were in back in college that never made it past graduation. Am I projecting? Maybe, but that's debatably what Swift's music is best utilized for.

I'm also going to be thinking about this song's bridge and outro for the rest of my life.

The National's influence can be felt on the stunning "This Is Me Trying."

Ahlgrim: "This Is Me Trying" quickly strikes a more sinister tone than its predecessors — still nostalgic and wistful, but carrying an edge, like a threatening secret.

Ironically, this one was co-written and co-produced by Jack Antonoff, not Aaron Dessner, though I can really hear The National's influence here. I'm getting strong wafts of songs like "Pink Rabbits" and "Dark Side of the Gym."

Based on Swift's own words, we can speculate that "This Is Me Trying" is a fictional tale, built around the image of "a 17-year-old standing on a porch, learning to apologize." And, as previously stated, I'm a big fan of Storyteller Taylor, so I'm into it.

The song's darker tone mingles really well with Swift's imagery; when you're a teenager, and you make a mistake, it can feel like the end of the world.

Larocca: "This Is Me Trying" is precisely what I imagined this album sounding like when I found out Swift collaborated with the National's Aaron Dessner and Bon Iver.

But I'm glad she was strategic about her use of echo and also finally paid attention to the tracklisting from a sonic standpoint. This haunting soundscape is reminiscent of 2014's "This Love" and comes in right when you need it after the yearning daydream of "August."

I'd also like it to be on the record that the line "I got wasted like all my potential" ruined me and this song is a win for that lyric alone.

"Illicit Affairs" is a glowing example of what sets Swift apart from her peers as a songwriter.

Ahlgrim: The expert songwriting on "Illicit Affairs" reminds me of the as-yet unseated queen in Swift's discography: "All Too Well."

Swift is a master of wielding specific details like weapons: "What started in beautiful rooms / Ends with meetings in parking lots," she sings. "Leave the perfume on the shelf / That you picked out just for him." These are the sorts of images that set Swift apart, and they're especially strong when she punctuates their delivery with a little growl in her voice.

This song has real power. I have chills.

That power is magnified in the third verse, similar to how "All Too Well" builds to a crescendo: "Don't call me 'kid,' don't call me 'baby' / Look at this godforsaken mess that you made me."

Certainly, "Illicit Affairs" is more restrained than Swift's iconic arena rock ballad, but goddamn that last verse hits hard.

Larocca: The way that she says "him" in the second verse shook me out of my skin in the very best way. And "Don't call me 'kid,' don't call me 'baby' / Look at this idiotic fool that you made me" will go down as one of her best breakup lines of all time.

It's been a minute since Swift delivered a painstakingly beautiful breakup ballad, and the fact that this album is littered with them is, simply, a gift.

"Illicit Affairs" has growing power and will likely become one of those tracks that fans form a strong emotional attachment to over time.

"Invisible String" is Taylor Swift at her most Taylor Swift.

Ahlgrim: "Invisible String" is a feast of Easter eggs and callbacks.

"Teal was the color of your shirt" reminds me of the line about Joe Alwyn's blue eyes on "Delicate," and her reference to a dive bar is similarly familiar. "Gave me no compasses, gave me no signs" recalls the push-and-pull on "Exile."

"Bad was the blood of the song in the cab" is undoubtedly a reference to Swift's 2015 single "Bad Blood," while "One single thread of gold / Tied me to you" feels like a nod to Swift's description of love's "golden" hue on the "Lover" album closer "Daylight."

This song is sprightly and sparkly and certainly nice to listen to, but its real strength lies in these details.

Swift is weaving many different stories on this album, many connected by a sort of "Invisible String," tying different pieces of her life and your life and other lives together. It ends up feeling like a growing plant with far-reaching roots, or a sentient treasure map.

Larocca: I'd be lying if I said there weren't multiple points throughout this album where I worried that Swift and her boyfriend Joe Alwyn had broken up.

Thankfully, "Invisible String" is a rosy, wide-eyed ode to love. The plucky guitar paired with Swift's soft vocals is a sound I want to live in, which is fitting since this track feels like coming home.

Every small detail, from the nod to Alwyn's time spent working at a frozen yogurt shop in his youth, to the color imagery that paints every inflection of Swift's adoration (especially the single thread of gold) come together to lay the holy ground Swift's relationship walks on.

Also, the image of Swift mailing Joe Jonas and Sophie Turner gifts for their expectant first child brings about an unbridled sense of joy.

"Mad Woman" is yet another highlight.

Ahlgrim: Every time I think I've heard the peak of this album's songwriting potential, Swift manages to surprise me.

Case in point: "Do you see my face in the neighbor's lawn? / Does she smile? / Or does she mouth, 'F--- you forever?'" Whoa.

And another, for good measure: "It's obvious that wanting me dead / Has really brought you two together." I texted Courteney, "Did she really just say that??"

This song is sublime on its own, but the way it ties back into the perception of female freedom and "madness" on "The Last Great American Dynasty" makes it even better. "Mad Woman" is definitely a personal favorite so far on this album, if not in Swift's entire catalog.

Larocca: "Mad Woman" will forever hold the honor of being the first song in which Swift says "f---" and for that, we should all be thankful.

I was also so wrapped up in the storytelling of this album, that it took a minute for this to even register that this is likely about the Scooter Braun and Scott Borchetta / Kanye West and Kim Kardashian West ordeals of Swift's past. These callouts used to be so obvious, that I greatly appreciate the subtlety and restraint here.

It almost feels like these feuds were a lifetime ago, but this track does an excellent job at showcasing how anger and pain can leave an indelible mark on you. Swift went mad years ago, and that's just an accepted part of her narrative now.

But for the first time, her rage sounds like freedom.

"Epiphany" doesn't stand out.

Ahlgrim: There are some really interesting vocal moments on "Epiphany," but so far, this is the only song I haven't felt captivated by. It's a bit snoozy, and a bit too long.

This song clearly references war, the loss of a loved one, and the coronavirus pandemic, which makes it lyrically intriguing at best — but distressing at worst. I don't mind letting the overall effect waft over me, but this won't be a song I revisit outside the context of the album.

Larocca: "Epiphany" is the only track on "Folklore" that didn't immediately grab me. It's essentially a war drama in song format, so some people might like it, but I truly couldn't care less about war movies or war songs! So it's not my favorite, but it makes for pretty background music.

"Epiphany" does have another benefit though: Now, whenever some random dude erroneously claims Swift "only writes songs about her exes," fans have a clear song in her discography that they can point to and be like, "That's not true. This one's about war."

That's not to say Swift needed that — anyone who has been paying attention understands she's quite possibly the best songwriter of her generation.

This just happens to be further proof of that fact.

"Betty" is a charming callback to Swift's country roots.

Ahlgrim: "Betty" is like the best, sauciest song from Swift's 2006 debut country album that no one got to hear. It has sonic and lyrical similarities to hits like "Our Song" and "Tim McGraw," plus some name-dropping stuff like 2008's "Hey Stephen," plus a little harmonica thrown in for good measure! I love that for us.

"Betty" also appears to complete a three-song story, recalling details from "Cardigan" and "August" to close the loop on Betty and James, a couple in high school with some infidelity issues.

Looking back, it feels like "Cardigan" was told from Betty's perspective, while "August" was told from the perspective of a sort of "other woman" character. Now, we get James' side of the story. This is high art, folks! This is peak Storytelling Taylor!

"Betty" is also, like, very gay? I know it's easy to assume that James is a male character, but Swift herself was named after James Taylor, so she could be referring to herself. The song also references someone named Inez; James and Inez are the names of Ryan Reynolds and Blake Lively's daughters.

Plus, in retrospect, the idea of whispering "Are you sure? Never have I ever before" during a summer fling seems pretty gay to me.

I'm not saying the story of Betty and James would be better if it was written about sapphic lovers, but I'm not not saying that.

Larocca: This one is gay, and if you try to tell me otherwise, I will simply ignore you.

But Courteney, it's from the perspective of a guy named James. James and the other character, Inez, share the same names as Reynolds and Lively's kids (will leave it up to you to decide if that means their third daughter's name is Betty). James is their daughter. Get out of here with your antiquated ideas about which names connotate which genders.

To me, the James named in this song is a woman and a lesbian and this song is for the gays. I will not be saying anything else or accepting any feedback on this opinion, thank you.

"Peace" is honest and raw.

Ahlgrim: This song's intro sounds like LCD Soundsystem had a baby with "The Archer." The gentle guitar riff is also lovely.

With Dessner's echoey production, Swift's voice sounds like a warm little fire in a cave — fitting, since she sings in the chorus, "I'm a fire and I'll keep your brittle heart warm."

OK damn, I'm getting really emotional. This songwriting is beautiful and haunting. "Peace" perfectly captures the ambient dread of feeling your partner slip away, of wondering whether love can be enough.

Larocca: If you're a "Call It What You Want" stan, you're going to love its mature older sister "Peace."

I will hereby forever be thinking about the parallels between "But I'm a fire and I'll keep your brittle heart warm" with "He built a fire just to keep me warm" and between "Family that I chose, now that I see your brother as my brother" with "Trust him like a brother."

Also, "Would it be enough if I could never give you peace?" has the same emotional impact as when Swift changes the lyric in "The Archer" to "I see right through me" and that's meant as the highest form of compliment.

Swift's vocals are so crisp, that guitar riff is so stunning, and these lyrics are so gut-wrenchingly vulnerable. A perfect song, through and through.

"Hoax" is unlike any other album closer in Swift's catalog.

Ahlgrim: I don't know if Swift is going through a traumatic breakup, but if she isn't, the woman is one convincing creative writer.

The National makes some of my favorite music to cry to, so when I heard Aaron Dessner had co-written and produced much of this album, I knew I was in for some glossy cheeks. Until now, I think I've felt too captivated by Swift's artistry to really let myself get there.

But finally, "Hoax" is making me cry.

This is heart-wrenching stuff for anyone, but for a fan and student of Swift's work, this is like reading a friend's diary entry.

"Don't want no other shade of blue, but you" must be a reference to "Delicate," in which Swift sings: "Dark jeans and your Nikes, look at you / Oh damn, never seen that color blue." Later, she croons, "You know I left a part of me back in New York," perhaps regretting the move to London that she detailed throughout "Lover."

"You knew it still hurts underneath my scars / From when they pulled me apart," recalling the public shaming she endured and demons she exorcised on "Reputation." "But what you did was just as dark." Like I said before: Whoa.

Personally, I love having a good cry set to moody music, so I appreciate Swift's soul-bearing. "Hoax" is one gut-punch of an album closer.

Larocca: Swift has a habit of ending her albums on an uplifting, hopeful note and I always eat it up. But if "Folklore" hadn't made it clear by now that it should be consumed differently than any of her previous works, "Hoax" brings that message home.

Instead of reveling in all the ways that love has made her stronger, happier, or more whole, "Hoax" deconstructs everything Swift has learned about love and leaves a bleaker picture about how maybe even the best of relationships hurt.

But at its most tragic, this love still isn't something Swift will ever let go of: "Don't want no other shade of blue but you / No other sadness in the world would do."

Finishing a Taylor Swift album has never been so devastating.

Final Grade: 9.7/10

#taylor swift #folklore #review

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rainofaugustsith · 4 years

Text

So...I realized that about a year and a half before Echoes of Oblivion, where you go through Satele Shan’s minsdcape to heal her (among other things)..there are a few chapters in The Eternal Wrath where Lana and Viri go through Viri’s mindscape to heal her. In that case it had nothing to do with Valkorion directly, they were healing the damage left from the fact that Viri had five different very strong Force ghosts involuntarily squatting in her brain, and as we know from the Sith Inquisitor story, Force Walking hurts a person on a good day. Excerpt:

”Viri, sit here. Lana, sit next to her. You need to recite this incantation, exactly as written,” Suvia says, handing Viri a piece of parchment. “It’s written out because datapads short out in here. We found that out the hard way before.” ”HK, hold onto my datapad, and Viri’s, too,” Lana says, handing the device over. “Please wait for us outside.” Viri takes the piece of parchment and studies the High Sith incantation. “So I say this, and…” ”And you’ll take this torch and light the cauldron in front of you. These seeds need to go in the cauldron when you get to line seven. Inhale the fumes and don’t resist when they send you to sleep. Lana, you’ll be able to follow Viri into her dream state and help, but you need to remember that you’re there as a second. She has to take the lead.” ”Understood,” Lana says gravely. ”Can you give me any hints about what will happen in the dream state?” Suvia nods. “Count on fighting some of your most traumatic memories. And yourself. You’ll need to win. If there’s any deep dark secret you don’t want Lana to know, be warned. She’ll see everything.” “That’s fine. I have no secrets from Lana,” Viri says. “Are you ready? We’ll cover you outside the room,” Suvia says. Viri swallows hard. “Thank you for your guidance with this, Suvia. You’re literally saving my life.” ”You restored mine. It’s nothing,” Suvia says, as she leaves the chamber. “Safe travels.” Viri lights the cauldron and settles down before the fire, but hesitates. ”Don’t be afraid,” Lana says softly, rubbing her arm. “I’ll be right here with you the whole time.” Viri says nothing, but turns to embrace her. She’s shaking under her robes. ”I’ve got you. I promise.” ”I love you,” Viri whispers. “Thank you for coming with me.” ”I’d do nothing less,” Lana says. “I love you, Viri. You can do this. You’re the fucking Wrath, damn it.” Viri laughs outright, takes a deep breath, and begins to recite the High Sith incantation. When she reaches the seventh line, she tosses the seeds into the flames. A blue haze begins to fill the room, and both Lana and Viri feel their eyelids becoming heavier and heavier. As Lana slides into unconsciousness, she reaches out to Viri one more time. Safest travels, my love. … Lana’s eyes open to stare at a black sky. Black volcanic rocks cover the ground. Hills of ash surround them. The stink of sulphur chokes the air. Lana blinks as she stands up and looks around. Viri is already battling a ghost; one that looks suspiciously like Darth Baras. Her teeth are bared and she’s railing on her former master with every bit of venom she can muster. As Baras goes down, Nomen Karr rises. And Lord Draahg. And Revan. Arcann. Vaylin. Valkorion. As Valkorion’s illusion falls, a staircase opens beneath Lana and Viri’s feet. The two women run down the steps, spiraling down into Viri’s conscious mind. Around them, people are laughing. Taunting. Accusing. Screaming. Lana hears both friends and foes, and stops short when she recognizes her own voice, and Viri’s, among the cacophony. Every trauma Viri has ever experienced is spilling over them in waves, and tears run down Lana’s cheeks. The stairs lead to a long corridor with open doors, and Viri peers through each of them, seemingly searching for something. ”What – who – are we looking for?” Lana gasps, trying to keep pace with Viri. ”Her,” Viri says, and keeps running.

At the end of the corridor, the two women stop short. A closed door, locked with numerous chains and electric barriers, lurks in an alcove. The void is stronger here. “This is the only door that’s still closed. Is this what we need?” Lana asks. Viri goes pale and backs up. “I can’t go in there.” ”It’s your own mind. Can’t you go where you want?” Viri shakes her head. “Not there. Never there.” Lana sighs. “Do you mind if I have a peek, then?” ”You know I can’t let you go in alone, in case it’s dangerous,” Viri sighs, and heads for the door. “No!” The voice is neither Lana nor Viri’s, but that of a child. A young girl, wearing the uniform robes of the Corellia Sith Intermediate Academy, darts in front of them. Viri. Lana recognizes her instantly. She appears to be eleven, twelve – somewhere in the nebulous preteen age range – and her curly hair is pulled back in a tight bun. A well-used practice blade is strapped to her back. “Vee?” Viri asks in disbelief, staring down at the child. “I don’t know who you are, or why you’re here, but I suggest you go away.” Vee’s eyes flash. Her voice is high and squeaky; Lana has to resist the urge to smile. “And that nickname isn’t yours to use.” ”It’s one of the things your parents call you,” Viri says. ”Yes, and you’re not my parent.” Vee crosses her arms. “Get the hell out of here.” ”Nope,” Viri tells the girl. “Sorry to break the news to you, but I have final authority over this mind. It belongs to me.” ”How dare you tell me I don’t know my own mind!” Vee snaps, drawing her practice blade. ”Oh, put it away, Dragoi,” Viri rolls her eyes and bats the blade out of Vee’s hand. “You’re impossible. Don’t you recognize me?” Vee falters. “You look like me, but…” Viri kneels down and looks into her eyes. “You like girls and boys, but are attracted to none, and that confuses you. You like girls far more, and that’s totally okay. You love your mom and dad more than anything and you’re so proud of their work. You miss Naboo. You go to work with your mom on the weekends, and your favorite animals are sleen and jaggalors. You hate peas. You walk into walls a lot. You got in trouble for dyeing your school robes blue and purple. You’re really happy you’re growing so tall. You—“ Vee stares at her. “You’re me.” ”Yes, I am. I need to get into that room and see whatever we’ve locked away.” “No. You won’t like that room.” ”I’m sure I won’t,” Viri says dryly. “But I still need to go in. Do you have the key?” ”Don’t say I didn’t warn you,” Vee sighs, and reaches into her pocket. She hands Viri a stack of keys. ”Which one opens this door?” Viri says, confused. ”All of them. It can’t get out.” ”You locked it up as tightly as you could, didn’t you?” Viri says softly. “It must have really scared you.” Vee puts her chin in the air. “I am to be Sith. Sith do not let their fear rule them. They channel it.” ”You’ve learned your Sith Code, that’s for sure,” Viri smiles as she starts unlocking the door. ”You’re really going in there? Force, no! No! Don’t make me hear it!” Vee screams, covering her ears. ”You don’t have to,” Viri says, conjuring memories of a few of her favorite pets. “I’ll be going in with my wife. You can stay out here with the sleen.” ”Good,” Vee says, running to the animals. “I’ll be over here. If you die in there, don’t blame me.” ”I won’t,” Viri says, and as the final lock falls away, she catches Lana’s eye. ”In we go,” Lana says gravely, grabbing Viri’s hand as they walk through the door. ***

”Viri, we’ve been through the entire fortress,” Lana gasps. “We’ve been here for hours. Who are we looking for?” Viri crouches down and puts her head in her hands. “Myself.” “We’ve run into six versions of Vee here. Three of your adolescent selves. The apprentice. The Wrath. Which memory of you do we still need to find?” ”The one who was – wait. Yes. That’s where we need to go.” Viri pushes on the stones of the corridor, and they fall away. Before them, a platform with a long staircase with a throne looms. ”This is where she was,” Viri explains. “Where she told me to go, when Valkorion shattered my mind. She had absorbed the holocron, so I could find it here. But now she’s – “ "Viri, I'm lost." "Okay. Sorry. Remember when Valkorion seized my mind, and tried to kill my soul? When I was in my own mind, fighting that battle, a version of myself was coaching me along. She told me where to go and what to do. I wouldn't have remembered the holocron otherwise; I was too scattered. But she vanished as soon as I found the holocron and started to fight Valkorion." Lana looks around. “And you think she’s still here?” ”I know she is,” Viri says, searching around the throne. “I feel her here. You take this side; I’ll take this one. We need to find her.” Lana shakes her head, but begins searching the platform. There are signs of a fierce battle – blood, hair that looks suspiciously like Viri’s, pieces of broken armor – but a pale, motionless hand, barely visible behind a rock, makes her scream. ”Viri! Over here!” Viri vaults over the rocks and picks up herself. The version of Viri who lives in her mindscape is battered, bruised and barely alive. Her armor is shredded and her shoulders and arms are bare. ”I’m sorry,” Viri says. “It took us a while to get here.” Mindscape Viri smiles faintly, but is in too much pain to talk. ”Valkorion took a lot out of her – of us. She used every bit of energy she had to help me survive.” Viri strokes her face. ”How do we help her?” Lana asks, kneeling down next to them. ”We heal her, and bring her someplace safe,” Viri says, closing her eyes. The mindscape Viri begins to glow as healing energy surrounds her. Lana puts one hand on each Viri’s back and adds her own mending powers to theirs. Viri rises, carrying her mindscape double in her arms. “She needs to get out of this room. And this room…all of it…needs to go. We’ve already cleaned Valkorion’s damage out of the rest of my mind. This is the last of it.” ”Do you need my help?” Lana asks. ”No, just hold her,” Viri says, passing the double to Lana. “I think I need to do this on my own.” ”May the Force serve you.” ”It will,” Viri says with a smile, marshalling her power and shoving it at the throne. The room explodes around them as Viri attacks it, reducing the platform, steps and throne to dust, and then to nothing. Lana gasps as the ground beneath her disappears, leaving nothing in its wake. ”You’ve got a big block of…well…nothing…here, Viri…” Lana says uncertainly, but in the next moment, the ground around her materializes again. She’s on a lush green lawn, near a waterfall and a small, but beautiful, house. ”Give her back to me,” Viri says, taking her double back from Lana. She walks toward the house. ”No, put me down…let me feel the sun.” Viri nods and conjures a lounge chair for her double, before setting her down gently. ”You’re not trapped in that throne room now,” Viri tells her softly. “You can live here.” ”Naboo,” the mindscape double says, smiling as she looks around. “Thank you.�� Viri nods, but as she looks at Lana, she begins to flicker. ”I think our time here is up, love,” Lana says, and grabs Viri’s hand again as the vision goes black. ”Yeah. We did what we needed to.” * ”Wake up.” The stones are cold against Lana’s cheek. She’s back in the Temple of Strength, the room is clear of smoke, and Viri is unconscious in front of the altar. Suvia is kneeling next to them, another torch in her hand. ”You were out for a long time,” Suvia said. ”How long?” Lana asks weakly. ”Five hours.” ”Force alive…” Lana mutters, rushing to Viri’s side. Viri’s eyes are still shadowed, but there is vitality in her face that Lana has not seen in weeks. ”Did she do what she needs to do?” ”Yes. I think so.”

#Lana and Viri #Viridana Dragoi #The Eternal Wrath #fanfic #fanfiction

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darlingrutherford · 5 years

Text

Once Upon a Time in Thedas

Oops, I went and posted the first chapter of my Cinderella!AU, because I can’t help myself. First chapter is a short one to set the scene. This fic may move rather quickly for the main bit of it, but I have every full intention of expanding on it after the main bit is done. This is a bit out of my comfort zone and rather different from what I usually write, so please be kind! Also, tagging @schoute because I promised ;) And, enjoy! <3

Trigger warnings for this series for mentions and scenes of mental/physical abuse.

Once upon a time, there lived a young elf named Lana. She lived with her mother and father on the outskirts of Denerim in a small cottage surrounded by trees and brush. Denerim was a large city in Ferelden, home to many different kinds of people: humans, elves, even the occasional dwarf or two who had come to the city looking to trade. Shops of all kinds paved the city: apothecaries, smiths, inns, even a few rarities shops run by mages who had managed to scrape their way to a better living despite their Maker-given gifts. Being a mage wasn’t considered a blessing by many. They could be dangerous, unpredictable. As such, the Chantry kept a close watch on all mages, requiring them to live within a city limit so that the Templars could keep an eye on them. Circles existed to contain any mage deemed too dangerous or those who would refuse to abide by Chantry rule, but those who kept quiet and to themselves could live a simple life.

Lana had come into her magic at the age of eight, much to the displeasure of her parents. There had been an argument, one started in a moment of hot headedness when Lana had questioned her mother. When the back of her mother’s hand made contact with her face, ice had sprung from Lana’s fingertips and frozen the floorboards beneath her feet. That was the day Lana sustained her first scars: one, on her forearm from a knife her mother had swung at her in anger, and another, a small knick close to her left eye, just before her father had forced the knife from her hand. Lana had spent three days in her parent’s dark hall closet while they argued and ultimately decided, with council from the local Chantry, what to do with her. Since that day ten years ago, Lana had been confined to their home. Her parents were devout Andrastians. They were ashamed of having a mage be of their blood, and wished nothing more than for all of Denerim to forget that Lana even existed. And, for some time, they did.

All her days after that frightful, fateful moment had been spent focusing on the Chant, taking care of their home, and trying to suppress the magic inside of her. Lana did the best she could. Some days she woke up with her pillow cold as ice, or a flame would spark from her fingertips when she was having trouble lighting the hearth. Each time a panic would set in deep in her gut, and after a quick look to ensure neither of her parents had seen, she would carefully remove any evidence and pray to the Maker to make it stop while she atoned throughout the day.

Each day began the same for Lana: she would wake just before the sun to recite from the Chant, brush out her hair, and braid it in a simple, tight braid that her mother preferred her to wear. Then she would dress before quietly making her way into the kitchen. Breakfast would be complete by the time her parents woke, hot tea heated on the hearth and not by magic to be on the table waiting. The three of them would sit at the table, say a morning prayer from the Chant before their meal, and eat in silence. Occasionally there would be a harsh remark from one of her parents: her mother would remind her to sit up straight; her father would remind her of something she missed in her chores the day before, which her mother would reprimand her for later. Then Lana would clear the table, clean the dishes, and work on sweeping the house if the sun was out. Her parents would sit at the table, and Lana would take her time sweeping while they discussed the happenings about Denerim as of late. She would listen eagerly as she worked, wanting to soak in everything they said. Later she would take what she heard, sit at her windowsill, and daydream about life in Denerim for those without magic.

In her daydreams, she thought of the bustle of the city, all the sounds and all the different people who would be there. She thought of the shops, the different types of trade found throughout that made Denerim the city it was. She had seen the Royal Palace once, when she was much younger, from the outside as she walked quickly at her father's side on their way to the market. Its gates had seemed so large at the time, stone walls surrounding it but not quite containing the sound of those running back and forth about their daily duties from within. Every so often Lana would imagine what it would be like to wander the city again, with someone else at her side, someone other than her father; someone she could walk hand in hand with, when they could walk leisurely without rush. As her face would flush from the thought, she would pull herself from the dream. That's all it was, after all. Just a dream. Who in their right mind would love a mage?

Lana’s days weren’t entirely filled with chores. She had become quite proficient at them, and as such was able to afford a good amount of her day to reciting the Chant as her parents preferred for her. They allowed her to choose where she spent that time, as long as it was within their small property. Between her bedroom and the small garden that surrounded their home, Lana found her peace. When the sun hit her face, Lana felt she could breathe again. No matter how the day had been, as long as she had behaved herself, she had the sun. Even when confined to her room when her mother had decided it was needed, Lana’s window faced West, and the sun always found her. On a day such as today, when Lana had made her mother happy with her - as much as a mage could - she found herself on her knees in the garden near her window, the sun warming her face as she recited the Chant.

“...’So the Maker turned from his firstborn and took from the Fade a measure of its living flesh and placed it apart from the Spirits, and spoke to it, saying, ‘Here, I decree opposition in all things: For earth, sky; For winter, summer -’”

“‘For darkness, Light.’”

“Sister Leliana!” Lana rose from the ground as she heard the light voice of the Chantry Sister. As an established mage in Denerim, the Chantry kept a close watch on Lana. Traveling from Lothering, Sister Leliana had been assigned to her for going on a year then, after Lana’s last Sister had taken a missionary sabbatical to the Free Marches. The Sister would check up on her twice a week, and Lana often found herself clinging to the opportunity to see the face of someone other than her parents. “Is it Tuesday already?”

“No, it is Monday,” Leliana said with a smile. “I will have special business tomorrow that will keep me from you. I thought it best to stop by and see how you are doing.”

“I should tell my -”

“I already spoke with your mother,” Leliana said. She smiled as Lana visibly relaxed at her reassurance. “How have you been since I last saw you?”

“Very well, thank you,” Lana said. Leliana waved her hand and walked to the edge of the garden near a tall oak tree, and Lana followed. They sat in the shade, elbows close to one another.

“How are you really?” Leliana asked, her voice lower than before. She took Lana’s hand, turning it over to observe a fresh scar near her elbow. “They don’t listen to us talk, you know. Out here, it’s just the two of us.”

“It’s fine. I… I upset her,” Lana said quietly. “I accidentally used… I shocked her when she grabbed me.”

“I see.” Leliana was quiet for a moment as Lana fidgeted with the end of her braid. Her braid was the same always, and this day was no different: close to her head, beginning on one side near her temple and ending on the other at the nape of her neck, not a hair out of place. The sun glimmered off her red strands, glittering like fire in the light that filtered through the branches of the tree.

“How are things in Denerim?” Lana asked, trying her best to not sound too eager.

“You are in Denerim too, you know,” Leliana said with a knowing smile.

“I know,” Lana laughed quietly. “It’s just… it’s so quiet here.”

“You heard they chose a new King a month ago?”

“I did, yes.” Lana’s face lit up, as it always did whenever she and Leliana spoke about anything new. Reciting the Chant and speaking of the Maker with the Sister was wonderful and all, but Lana yearned for the world outside their home more than anything. It was a world she felt she would never know, despite its closeness, and she wished more than anything to live vicariously through the Sister as much as she could.

“He was crowned this past week,” Leliana said. “He will have to find a Queen soon, I assume.”

“Should be easy for royalty. I can’t imagine any woman would say no to a life of living in a castle. Can you imagine?”

“Would you say yes?” Leliana teased.

“Don’t be ridiculous, why would I be asked?” Lana flushed, then horror washed over her face. “I’m so sorry, Sister, I didn’t mean to say that you are -”

“I know what you meant,” Leliana reassured her. “It will be our little secret. Now then… Which part of the Chant would you like to discuss today?”

Lana and Sister Leliana spoke to one another for a few hours. Lana always appreciated how much time Leliana took with her. The other Sisters had been content with an hour here or there, but Sister Leliana seemed to genuinely sympathize with Lana's life, and Lana's parents would never question a Sister of the Chantry. By the time Sister Leliana had left on her way, the sun had begun to fall and Lana rushed inside to help her mother in the kitchen.

“Don't think that you can shirk your duties just because Sister Leliana was with you today,” her mother warned.

“Yes, mother, of course,” Lana said. She quickly grabbed a pot from above the stove and went about lighting the wood below the stove.

“What did you two discuss today?”

“We spoke of Threnodies, and the Maker's creation of the world.” Lana grabbed a knife from the table, trying to make quick work of the potatoes. She turned them in her hand, trying to peel quickly with the sharp knife.

“For three hours?” Her mother scoffed. “You had better be able to recite it backwards to me after - now look at what you've done! If you've bled on the potatoes…”

Lana dropped the knife, holding her bleeding finger tightly in her hand. She angled her hand away from the table, quickly scanning her eyes and feeling relief wash over when she saw no blood on the table. She felt warm for a moment, and then the pain in her hand almost melded into nothing. Her mother grabbed her injured hand, tearing it towards her face and Lana's stomach opened like a pit. Her finger was stained in blood, but the offending wound had closed as if it were a week old. In her panic, she had worried of the wound itself offending her mother and she had healed it. An eerie silence broke over the home, the calm before the storm as time seemed to stop. She could see the red rushing to her mother's face, could feel time speeding up. Lana began speaking quickly, her brain racing.

“I didn't - I didn't mean to -”

“Do not talk to me after you did that… unholy thing in my house!”

Lana audibly winced as her mother grabbed her by the long point of her ear. She had to bend low to offset the pain as her feet quickly followed her mother's. She strained to look up, her stomach sinking and panic setting in as she saw them heading straight towards the closet.

“Mother, please, I swear on the Maker I didn't mean to -”

“I don't want to hear a sound from you until I open this door again!” Her mother yelled as she opened the door. Lana stumbled forward, grabbing at the wall for balance as she hit it. She turned around as the door slammed shut behind her. She could hear the lock turn as her mother forcefully turned the key, then the sound of her feet stomping away in anger, before silence took over.

The closet was dark. It had always been dark, pitch black, and empty for this use and this alone. Lana couldn't see her shadow as she slid down against the wall. It was tight and, even as small as she was, she couldn't stretch out her legs. Normally her mother would punish any regular transgressions with a pinch, a bruise, something quick and then leave Lana to her room. The closet was reserved for magic, for when Lana went against the very stringent rules that her parents expected her to abide by in order to live in their presence. Lana had spent many hours in the closet when she was younger, when controlling the magic had been harder. Sometimes it was hours, sometimes a day, always dark, and alone. As she grew she had become better at suppressing the magic, but, occasionally, it took her by surprise, as it had that day. She shook against the wall in the darkness, knowing that when she finally did see the light again there would be hell to pay. Making noise would make it worse. It would make her mother leave her in there for longer if she heard, make the eventual punishment more terrible than it already would be. Lana hugged her knees close to her chest, burying her face against her legs. She cried silently, her lips moving as she recited the Chant barely above a whisper in hopes that the Maker would hear:

“Blessed are they who stand before the corrupt and the wicked and d - do not falter… Blessed a - are the peacekeepers, the champions of the just… Blessed are the righteous, the lights in the shadow... In their… In their blood... the Maker's will is written.”

#dragon age #cinderella au #surana #alistair theirin #suranistair #alistair x surana #lana surana #my ocs #fanfiction #my fics #my work #ao3

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r3b3lgrrrrrrrl · 5 years

Text

A LunaTic and her Gunn (Part 32)

"RIOT GRLS"

@lovemythsworld

@creatureofthen1ght-v3

Colson's slowly collecting his stuff. He has a show in NC on the 10th and then is fully on tour until July. Sighing he shoots Ashley a text asking about Luna. She lets him know that she's with her.

"At least she's safe." Even though he's sure Pete is probably right, he's still worried about what could have upset her. He notices the time. "Damn she runs fast." He thinks impressed as he finishes his joint.

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

Ashley sits at the kitchen table while Luna paces. "It's the fucking principal. He's basically holding my music hostage, with a fucking Top 40 Hit as the ransom. Its fucking ludicrous!! Like, what the fuck makes anyone think they can fucking own me!?" She shakes her head, knowing exactly what, a Fucking contract, as she looks around for her purse. "Fuck, I didn't even bring my bag. You got any bud?" She asks Ashley.

"Yup." Twisting her pen in her hand. "Sit." She directs Luna.

She does, continuing to vent to her best friend. "And this fucking Alabama shit is insane!! It's like we're taking 10 more steps back, every fucking day." She hits the pen a few times.

"So we do, what we do. Write a fucking Riot Grl song, like we talked about, only now we have a clear message. I know you like being small Loons, but we let it be a top 40 and use it to do something about Alabama. At least draw attention to it and figure out a way to help the girls there." She takes the pen from Luna and hits it herself. "Think about what you do for Flint. Just bigger and more exposed. Fuck, my fans love merch!! We can donate all those proceeds somewhere!!" Ashley can see the wheels turning in Luna's head.

"I can't fucking feature with you, he'll demand another 40, locking me into 2." She sighs.

"So, you feature me. If they wanna play red tape, with a Fucking WORD, we'll wrap them motherfuckers up in it. You said you have Monica going over your contract. Have her look into you featuring other artists."

Luna nods. Texting Monica right then. She also asks her to please look into possibly helping local Alabama organizations. Monica texts that she will, and that she already has her ear to the ground. Luna hits the pen again. She looks at Ashley. "I think we should change some things around. Write it from 2 points of view. An 'I and Us' kinda theme." She peers at Ashley. "Am I making sense?"

"Yup!" Says Ashley excited, pulling out the book they had wrote in the night before. "How about this?" She asks changing some lyrics 🎶We've been polite//But we're done with this trend//Of men thinking//They can tell us//What we can do//In our beds🎶

"Ohhhhh!!! That's fucking nasty, Ashh! I Fucking love it! I wanna change the Exs lyric to record executives..." She takes the pencil from Ashley. 🎶Keep the record executives//In check//In their basements//Their ideas are tired//Or worse//They're complacent//I have played nice//But will now be The Bully//We're tired and angry//Coming for The Hill//So scared//Is what you should be🎶 She shows Ashley.

"AHHHHHHH!!! LOOOOONS!! We're gonna be murking motherfuckers out here!!" Ashley screams, jumping up from the table after she reads it. She's dancing around singing it to a barking Jagger. "I'll be right back." She walks out of the room. Coming back in with her guitar. They finish reworking the lyrics, over their initial melody. Then they write the rest of the music. Using soft and hard drum ideas, guitar, keytar and a solid bass line dropping in and out. Ashley is playing guitar, while Luna bangs rhythms out on the table. They're working the hard/soft formula and wanna see if Colson and his band will back them.

"I'd trust Slim and Baze to produce it." Luna says confidently.

"Oh yeah, deff after the other night." Ashley agrees. After about an hour the girls sit back, satisfied.

"What should we call it?" Luna asks. Still sitting back, Ashley thinks for a minute. 🎶I'm no sweet dream but Imma hell of a night🎶 She looks at Luna intensely as she slides her arms across the table towards her. "Nightmare." She says with nod and wicked smile.

"Fuck yes." Luna agrees biting her lip, thinking hard. "We open to you reciting The Lords Prayer." Matching Ashley's wicked smile.

Ashley laughs. "I FUCKING love THAT!! This is going to be AMAZING!!"

"They're not gonna know what fucking hit 'em." Luna agrees, her wicked smile turning into an evil grin.

Ashley starts dancing around the kitchen again, singing. This time mimicking CCR 🎶There's a Bad Luna rising, I see trouble on the way🎶 Both girls laugh before Luna calls Colson. She needs to shower and change her shoulder's dressing. She's gross from anger-running and her shoulder is throbbing.

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Colson is smoking a joint, working in the studio when Luna calls. She apologizes for running out. She was mad at her lable and AL and said she didn't wanna take it out on him.

He gets it, he'd looked it up, AL is a big deal. He asks her why she's mad at the lable.

She explains some douche bag is anticipating their record being a Top 40 Hit and how, because Luna's mainly low-key, he wants his own Top 40 from her before he'll release her rights to Bad Things.

They know that they have the music in their physical possession and can do what they want with it. They also know that without her lable's permission they can both be sued and the song legally blocked from the air. They both agree it's bullshit. Luna's already decided she's deff walking in June.

She then asks if he would mind backing her and Ashley on their record with his band? He laughs agreeing, asking if she wants to record today. She responds with a grateful yes please. They get off the phone agreeing her and Ashley will be over soon.

Luna calls Monica to get an update on the legalities and include her in the possible new ones with Ashley, Colson and his band. She tells Luna she can't find anything to get Luna out of her contract, that she does indeed have a feature for feature clause but that HER lable is responsible for all production, publicity and artist costs on her records. Before they disconnect, she reminds her that her contract is up next month.

"Oh, Imma ride the shit outttta of this." Luna happily schemes more artists into the project.

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Before getting to Colson's, Luna places a handful of personal calls. If she wants to lay the track this evening and shoot the video tomorrow, she HAS to move quickly. Her friend Hannah has agreed to shoot the video. Her grandmother, Frannie, Paris, Billie and Lana are all free to show up. Luna asks them to spread the Riot Grl word, that she wants a BIG SHOT at 7P, bring, send, anyone and everyone they can. EXCEPT Joan, she tells her grandmother. She then shoots a mass text out to Cara, Lily, Nikki, Bella, Phem, Steph, Ri, Nix, Zoë and Ruby letting them know what her plan is, asking if they wanna be involved, esp in the BIG SHOT and to bring whomever. JUST NOT JOAN. Her phone is exploding as she drives with Ashley to Colson's. Everyone's in. They're equally pissed about AL and excited to be involved in the project. Most can fly in tonight, others tomorrow. Definitely before 7P. Luna responds with 😍🙏💃🎉

The thread still rolling through out the night with details and updates. Luna appreciating her friends.

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Ashley heads into the studio first, to recite The Lord's Prayer over Baze's eerie keytar. Luna's pleased with how sick they sound together.

Once they finish, EVERYONE piles into the studio, Luna and Ashley are side by side. Colson and AJ each have a guitar. Rook is on the drums, Baze still on the keytar. They need certain elements. Slim is outside the booth working the board. They had given it a couple dry runs and feel confident they can get it on one take. Luna kisses Colson, smiling at him. "Let's kill a Fucking nother one, Guys!!!" She shouts as they start.

Slim plays Ashley's voice over their headphones. As her voice ends and Baze's keytar continues, the band kicks in together fiercely as Ashley's vocals pound along with them. The room zaps to life.

🎶I!🎶Keep a record of their wreckage and their lies🎶We're startin' to weaponize our powerful minds🎶They talk shit but we won't take it this time🎶And they'll realize🎶

The band stops as Luna steps in alone, slowly coming in behind her vocals.

🎶I'm out for blood and it won't be sweet🎶Tired of having the rugs🎶Pulled from beneath our feet🎶Done trusting lies🎶Done trusting Men🎶Picking each other up🎶And putting ourselves🎶Back together again🎶

Luna's voice is strong but delicate as she glides over the lyrics with passion. She continues.

🎶We've stared in our mirrors🎶And punched it to shatters🎶Picked out our pieces🎶To have our own daggers🎶Society has us🎶Pinching our skin🎶With our own fingers🎶Wishing we could cut our parts off🎶With some scissors🎶

The room is buzzing as Ashley steps in harmonizing with Luna.

🎶They say🎶Come on Little Ladies give us a smile🎶No we ain't got nothing to smile about🎶

Ashley falls out as Luna continues into the mic with more anger in her voice. Rook's drums push hard.

🎶We've got nothing to smile for🎶I waited a while for🎶This moment to say🎶WE DON'T OWE YOU A GOD DAMN THING!🎶

The band crashes in after Luna, Ashley belting the first chorus again, nailing it.

🎶I!🎶Keep a record of their wreckage and their lies🎶We're startin' to weaponize our powerful minds🎶They talk shit but we won't take it this time🎶And they'll realize🎶

The band stops again, only Baze on keytar as Ashley softens her voice.

🎶That I'm no sweet dream🎶But I'm a hell of a night🎶No, I'm no sweet dream 🎶But I'm a hell of a night🎶

Luna and Ashley exchange excited looks as Ashley drops out so Luna can step in again with Baze, Rook rumbling behind her. She sings with fire.

🎶No, I won't smile🎶But I'll show you my teeth🎶And I might let you breathe🎶If you just let us be🎶We've been polite🎶But we're done with this trend🎶Of men thinking they can tell us🎶What we can do in our beds🎶Keep the record executives🎶In check in their basements🎶Their ideas are tired🎶Even worse, they're complacent🎶I have played nice🎶But will now be The Bully🎶We're tired and angry🎶Coming for The Hill🎶So scared is what you should be🎶

Luna snarls, grinning at Colson as she joins Ashley again for the second chorus. Colson plays his guitar flawlessly, dick getting hard as he watches Luna bounce around. The girls mock each other playfully as they sing together.

🎶They say🎶Come on Little Ladies give us a smile🎶No, we ain't got nothing to smile about🎶

Ashley drops back as Luna slams into the lyrics again.

🎶We've got nothing to smile for🎶I waited a while for🎶This moment to say🎶WE DON'T OWE YOU A GOD DAMN THING!!!🎶

The booth EXPLODES as Ashley and band come in harder than ever over the original chorus.

🎶I!🎶Keep a record of their wreckage and their lies🎶We're starting to weaponize our powerful minds🎶They talk shit but we won't take it this time🎶And they'll realize🎶

The band lightens as Luna and Ashley harmonize together again.

🎶Women like me🎶Can be real nightmares🎶Completely aware🎶But I'd rather be a real nightmare🎶Than die unaware🎶Yeah🎶Women like me🎶Can be real nightmares🎶Completely aware🎶But I'm glad to be🎶A real nightmare🎶So save us your prayers🎶

The band kicks in with Ashley again HARD for the final run of the main chorus. The booth going insane.

🎶I!🎶Keep a record of their wreckage and their lies🎶We're startin' to weaponize our powerful minds🎶They talk shit but we won't take it this time🎶And they'll realize🎶

The band fades from under her as Ashley leads them out over Baze's keytar.

🎶That I'm no sweet dream🎶But I'm a hell of a night🎶No, I'm no sweet dream 🎶But I'm a hell of a night🎶

Everyone is wide eyed with adrenaline. Slim comes over their head phones. "THAT was fucking SICK, Yo!" He tells them to their cheers. Luna and Ashley squeeze each other excitedly before Luna pulls back outta pain. They head into the studio for the playback.

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Luna sits on Colson's lap, swigging a beer as they listen to the record. Everyone is pumped with excitement. Joints are flowing. The song is raw and fierce, exactly the way Luna and Ashley wanted it. She sends the raw cut through the mass text.

"You were fucking sexy as hell in there, Kitten. Imma fuck the shit outta you later." Colson whispers into Luna's ear.

She giggles, thanking him for his help before kissing him deeply. Then she turns to the room "By the way guys all of tonight, and today Ash, are billable to Charles Fucking Ward at Riot Records!!" She announces lifting her beer. They all laugh and cheers.

After a bit, everyone heads upstaris to unwind and get fucked up by the pool.

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Finally alone upstairs. Luna pulls the red dress she has on, off over her head. Colson comes up behind her, moving her long blonde hair to kiss the back of her neck. Even exhausted he sets her on fire. She cranes her neck back, pulling his head to her, kissing him over her good shoulder. Their kisses are sloppy, wet and firm. Colson slides his hand into the waistband of her panties. Slipping his middle finger inside of her, swirling her clit with his thumb. Panting, she kisses him harder before pushing him away. She looks coyly over her right shoulder at him as she slides her panties off. Bending over his dresser, she wiggles her ass in the air at him.

"Ooohhh... Dirty Girl wants to play? He laughs, dropping his pants.

"Yes, please." She giggles with a smile.

"Mmmm." He bites her on the ass, making her jump. Then he grabs her by one hip, sliding himself slowly into her wet pussy.

"Bunnnnyyy....." Luna coos to the girth of his dick.

"You like that, Kitten?" He asks, pulling her hair, pumping into her hard.

She yelps. Moaning "Mhhhhmmm." As she bucks against him hard. Catching his eye in the mirror, she bites her lip. She gives him a devilish look as she begins slamming into him. "Who's dick is it?" She asks.

"Yours." He says, body flush from her pussy and stare.

Not breaking eye contact, she asks again feeling her body heat up as she fucks him. "Who's dick is it?"

"Yours." He says louder, breathing hard, gripping her hips as she fucks him. He's close as they continue to stare at each other in the mirror.

Bucking hard, just about to cum, she licks her bottom lip before biting it again. "WHO'S FUCKING DICK IS THIS!?" She demands one last time, daring him with her eyes.

They both cum as he yells out "YOURS!!!!!" before carefully falling on to her back.

"Your fucking right it is." She tells him. Still grinding against him. She's greedy with his cock.

"You're a crazy fucking bitch." He tells her, kissing her bare back, making her purr. It's an action they both cherish.

As they climb into bed she asks him if Casie can come to the video shoot tomorrow.

"I think it's gonna be really iconic, there's going to be a lot of strong, smart women involved. And, if it's ok with you and Emma, I think it would be an awesome experience for Cas. Especially for her to be included in the BIG SHOT. THAT would be fucking epic!" She grins getting excited.

He loves how she reacts to things but even more how she thinks of Casie. He checks the time.

"Lemme call Em now." He says reaching for his phone. "Hey..." He says when she picks up. "Nah, everything's cool. How are you and Cas?" "Cool." "So listen, I know it's last minute but Luna's shooting like a women's empowerment music video tomorrow and she was hoping to involve Cas..." Emma's talking. "Yeah, yeah... If you could fly her out, that'd be awesome." "Cool." "Thanks Em, see you tomorrow."

"AAAHHHHHHHHHH!!!!! Luna squeals jumping on top of him, kissing him all over."This is gonna be SO fun!!!"

"I Fucking love you." He smiles, pulling back her into him for another orgasmic night cap.

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After going to bed late and waking up SUPER early, before she even showers, Luna asks Colson for an Adderall. He looks at her a little crooked as he hands her a 30xr. She REALLY shocks the fuck out of him when she cracks the capsule and snorts it in one shot. "It's gonna be a long day." She one shoulder shrugs.

"I FUCKING love her." He thinks laughing to himself, as he kisses her on the head.

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Colson goes with Luna in the morning to greet her grandmother. Luna introduces her to Colson, whom she embraces warmly as she invites him out to NY for dinner. He graciously accepts while blushing. Patti flew in with her dear friends Joni, Debbie, Annie and Susan. Luna is excited to see all of them. She had anticipated lots of touching and hugs so she popped 3 30s, ate a bag of CBD heavy edibles and smoked an extra joint to pick them up. Luna's grandmother still doesn't know she was shot and Luna's goal is to keep it that way.

Colson drops Luna and the women off at the abandoned building she had rented for the shoot. It's nice to have credit in the straight world. Luna's billing every fucking thing from tody to Charles Ward at Riot Records. Red tape, Motherfuckers.

Luna's grandmother and her friends tease her over how cute and sweet Colson is. He's grabbing them breakfast from The Griddle before going to get Casie from the airport.

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It's a fun day of filming. Filled with excitement, empowerment, ideas, laughter, bonding and surprises.

Luna's friends begin to arrive at the location at different times, bringing other strong women with them. Everyone truly coming together like a family. Each woman being involved, blending in with the other cast and helping create different scenes that Ashley and Luna play out. The women change wardrobe multiple times from street fighting, punk clothes to sweet lingerie. And everything in between. Causing Pattie to notice Luna's injury. Luna promising to tell her grandmother about it later.

Casie is on set having a blast. Interacting with everyone while Luna keeps an eye on her. Colson had dropped her off, saying Hello to Pattie and kissing Luna deeply. Leaving before becoming overwhelmed by the overflowing estrogen. It's agreed Casie will only be in the BIG SHOT. Luna's grandmother finds the girl especially sweet with her quick wit. Making Pattie laugh many times throughout the day to Luna's delight.

Luna talks to Monica regarding Nightmare and Bad Things. Monica has drawn up and had Charles sign a contract confirming that once Luna releases Nightmare publicly, she will have full control over her rights to Bad Things.

They also touch base on AL, how there are still 3 functioning clinics. They're being funded by an organization named Yellowhammer. Luna tells Monica that she and Ash were thinking about printing out merchandise in promotion of the track. She asks her to start setting that in motion. Linking all proceeds to Yellowhammer. After agreeing, Monica then tells Luna she found a Dr who is looking for help. Luna asks her to set up a meeting. Thanking Monica as always, telling her to look for the link to their hardwork on Monday morning before they hang up.

Juuuuuust before 7P. A black Aston Martin pulls up. It's Beyoncé.

"Ohhhhhhh!!! FUUUCCCKK!!!!" Luna clasps her hands over her mouth laughing. "This is gonna cost them sooooooooooooo much money." She thinks happily.

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After the BIG SHOT, they reshoot the opening sequence to include Beyoncé. Who had heard through Jay, who had heard through Nikki. Whom is Luna's dear, laughing friend, that she squeezes as hard as she can in gratitude with her wounded body. ----------------------------------------------

Once they wrap, hug and cheer. Luna reminds everyone to bill Charles Ward at Riot Records for their time. CAST AND CREW!! That she'll send them all the link Sunday night and to please drop it promptly Monday morning at 7A with #nightmare. Everyone agrees, excited to see and share their finished project. Colson pops in for a drink and to congratulate and kiss her. Then he takes Cas home for bed, both promising to see each other later. The cast and crew continue to celebrate their victory late into the night.

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Luna puts her grandmother into an uber with her friends back to their hotel. Promising each other to text when the other arrives to their final destination. Before kissing goodbye, Luna thanks the ladies for their help, to their smiling, excited pleasure.

Benny picks up Luna and Ashley from the set. Colson is at her house with Dom. The girls say goodbye, being happy-exhausted as Ashley sends Colson out to the Rover.

He slides in tipsy. Kissing all over Luna. Her neck, her mouth. Zapping her back to life with the elecrity from the day still bubbling inside of her. She climbs on top of him as Benny knowingly puts the partition up and turns up the music. Kissing him hard and wet, she unbuckles his pants exposing his huge, hard cock. "Mmm...Someone missed me." She murmers in his ear as she slides her panties over and him slowly inside. He groans, kissing her all over as she shifts and adjusts him inside of her. His mouth makes her body tingle. Once comfortable, there is no slow with them. Luna rides Colson hard, bucking against him, while holding on to his shoulders. Digging her nails into his skin. He holds her steady by the hips as she continues driving him deep inside of her. Fast, hard, fierce.

Pulling his head back by his hair he moans "Kiiittteeeennn...."

"Do it Bunny." She demands, bucking harder against him. Making them both explode.

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Sunday night Luna schedules emails with links to the finished track to be sent to every major radio station across America at 7A. She schedules the upload to her YouTube channel and Twitter page. She then sends the link to any and everyone who participated, reminding them to drop the link at 7A with #nightmare. Followed by many thank yous and tons of love.

Monday morning at 7A Charles gets a text from Luna. It's a link to her YouTube channel. He clicks on the link. It's a video entitled Nightmare. The video opens to a mugshot of Luna. Followed by different flashing scenes before landing onto a fishnet and leather clad lineup of That Brooklyn Bitch, Rihanna, Halsey, Beyoncé, Lady Gaga and Nikki Minaj. It holds for a second before the hard, catchy, pop punk song kicks in loudly. Featuring clips of Luna, Halsey and the other famous faces embodying various personas, from punk rockers to dominatrixes to pin-up models to housewives to businesswomen. Including an all women fight club scene, little girls in front of a school bus and women rioting. Showcasing how multifaceted women are. It holds on a frame of her grandmother Pattie Smith, Joni Mitchell, Annie Lennox, Debbie Harry, Lita Ford and Siouxsie Sioux together. All in leather. Mean mugging the camera. Then flows into the BIG SHOT. A group of women marching, towards the camera. A little girl is leading the pack, holding a sign that says "We WON'T Smile". Others are holding banners and signs saying "We Support The Women of Alabama" and "Not Your Bitch". As the group gets closer to the camera, Charles is recognizing all of the women. Luna, Halsey, Ruby Rose, Lily Depp, Cara Delevingne, Pattie Smith, Annie Lennox, Joni Mitchell, Debbie Harry, Siouxsie Sioux, Lita Ford, Frances Bean, Paris Jackson, Billie Lourd, Emma Roberts, Zoë Kravitz, SZA, Lady Gaga, Beyoncé, Nicole Richie, Britney Spears, Rihanna, Bella Thorn, Lana Del Rey, Phem, Nikki Minaj all mixed together. It ends abruptly after mugshots of each of the 26 famous women flash across the screen. It's goes black before a link to the Yellowhammer Foundation pops up. Charles is speechless. It's cinematic history and pop gold.

"FUCK, SHE'S A FUCKING GENIUS. ONE WHO JUST COST ME A FUCK TON OF FUCKING MONEY!!"

Thinking of the cameos.

Just as another text from Luna comes in.

It says: "There's your Top 40 Motherfucker. Hope you enjoyed it 📃🎥💸💸💸💅"

He can't help but be impressed by her conniving cuntlyness.

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To be continued......

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1dclowns · 5 years

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i was tagged by the lovely and adorable @trianglekissy

Rules: answer 21 questions and tag 21 people you want to get to know better!

Nickname: kris, narrie, kraken.. lmao

Height: 5′3″

Hogwarts house: slytherin. no surprise there

Last thing you googled: acute coronary syndrome (im studying for an exam rn)

Favorite musicians: all of the 1d idiots that own my bank account, ariana grande, lana del rey, halsey, troye sivan

Song stuck in my head: kissin u by miranda cosgrove and im so annoyed because its been like 2 weeks nonstop dknjanfk

Following: 641 bc i need my dash to be constantly active

Followers: 4.6k it changes a lot depending on how active i am

Do you get asks: i used to a lot but not as much anymore. which is kinda bittersweet but i used to get hate and that was not good for my mental health

Amount of sleep: godddd i could sleep forever. i can easily sleep 9-10 hours but i try to get 8 so im not really drowsy

Lucky numbers: 13

Wearing: red plaid pajama pants from primark and an oversized sweatshirt from a brewery near me (i stole it from my boyfriend)

Dream job: ok so i want to be a pharmacist and im thinking of going the retail route but i dont really wanna work in a regular pharmacy.. i want to be more involved in specialty medications. thats what im doing as an intern right now and its more clinical work and i feel like the patient relationships are much different and i really like that extra level of care, yeah

Dream trip: the UK, im hopefully going when i graduate

Languages I speak: english but i know a good amount of french from school and my grandparents speak it. im better at reading/understanding it rather than speaking it though

Instruments: i used to play violin when i was 10 until i broke it during my recital

Favorite Songs: atm.. kill my mind & miss you- louis tomlinson, lights up- harry styles, cinnamon girl- lana del rey, colors- halsey

Cats or dogs: both. thats impossible to choose

Random fact: i used to write sonny with a chance fanfiction in middle school and im still embarrassed by it

Aesthetics: im shit at descriptive writing but.. sleeping with the windows open, layers of fuzzy blankets, black coffee, messy hair, the sound of rain trickling outside

i tag: @parislarry, @missyouhs, @watermelonwalls, @lightsupbabes, @twinkofficial, @persuasivelouis, @genuineconspiracy, @darkrainbowlouis, @radiantlarry, and anyone else who would like to do it :’)

#thanks bella for the tag :')

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tessatechaitea · 5 years

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Superman: Year One: Book Two

John Romita Jr finally giving up and sending this cover as finished: "Maybe all the fucking teeth will distract from Superman's leg."

No razor made by humans can cut Superman's hair! I bet he had to will his hair to fall out as they attempted to cut it.

The Navy officers pick Clark to train as a sniper because Clark doesn't know how to not be perfect at everything he does. I guess when Pa told him not to show off or to stand out, Clark wasn't really listening. But now that he's in the Navy, I guess he's contractually obligated to kill loads and loads of non-Americans with his super abilities. I don't get this whole "Clark Kent joins the Navy" story arc. At first, I thought it was a way for Clark to meet Aquaman. Now I just think it's a way for Miller to showcase his weird sea-fucking kink.

If you've ever been to the ocean with Frank Miller, you've swam in his jizz.

I could never find the ocean sexy. The most terrifying experience I've ever had was getting caught on a boogie board out past the breakers of the Pacific after the sun went down. I had to constantly stop myself considering what might be lurking under the black mirrored surface of the ocean as I tried to keep calm and paddle back towards the lights of Santa Cruz. I was out there with my buddy Larry who killed himself earlier this year. My theory is that he never could get that nightmare experience out of his head. Or maybe it was depression. Sure, you're probably putting your money on depression. That's exactly something somebody who never floated on the ocean in the darkness of night would do. Clark notices mermaids swimming out in the ocean and one of his officers is all, "Yeah, boy. Mermaids! Sometimes guys try to fuck 'em but then they drown and we report them lost at sea and nobody asks no questions. You got me?!" And Clark is all, "Yes, sir! Don't try to fuck the mermaids, sir!" Clark decides that since he isn't allowed to fuck the mermaids, he should head into town and start a bar brawl. Clark meets a woman who's working on publishing a story about Navy guys who hang out in bars and defend women from civilians who get too handsy with female reporters. Clark once again finds himself overwhelmingly horny. Oh, not for the woman! But for the idea of being a reporter! He's just too young to realize that he's not into woman; he's into bylines and columns and exposés. But before he can fuck a newspaper, Clark blocks a punch some jerk throws at him, breaking the guy's arm (just like that fight he got in high school! Is this good writing where we see echoes of the character's past history or bad writing where the writer just can't think of new plot points? Who can tell?!), and starting an all out brawl. He walks the reporter home afterward, dreaming about that black ink coming off on his cock and balls. The next day, the training officer threatens to shoot him for causing trouble. Seems like an appropriate response. I guess Clark is learning that the military doesn't keep anybody safe. It's just a violent place where young people with no real hope of succeeding in civilian life go to gain instant meaning and heroic praise from others. That's like the opposite of journalism where young people with lofty ideals about changing the world by exposing truth and justice go to never actually do that and instead just parrot the lies told them by politicians because they don't understand the difference between being impartial and simply being a loudspeaker for misinformation. I don't know what I'm talking about anymore. Frank Miller has me so confused. I mean, Clark Kent is in the Navy! What the fuck is going on in Superman's First Year?! Wait. This is all happening in just one year? It's because Superman grows super fast under a yellow sun, right? After being treated like shit by his commanding officer, Clark decides to go fuck some mermaids. That'll show him!

Just another reason why Aquaman is a redundant piece of Justice League shit.

Why did DC decide to call this comic book "Superman: Year One"? I would have called it "Frank Miller's Stupid Version of Superman by Frank Miller." Underwater, Clark Kent meets Lori Lemaris. She leads him back to Atlantis where an experimental submarine has crashed into the city. Also, I don't know if this will soon be an important plot point but Clark Kent is suddenly wearing a huge watch on his left wrist. Up until the moment he dives in the ocean, Clark has never worn a watch in this series. How else is he going to be dealing with Atlantis's problems when he'll suddenly look at his wrist and say, "Jeezly crow! I've got to get back to base! I'll be back tomorrow night to fuck more mermaids! And help rebuild if I'm not too sleepy afterward"?

"The smell of fish poontang washes across Clark's senses, threatening to remove him from Atlantis and plop him down in Boner City."

What kind of an editor takes a look at the previous panel and doesn't ask, "Why, out of nowhere, are you discussing Clark's ability to stifle his sense of smell to keep from being distracted in a panel that depicts Lori Lemaris's ass?" It's a fair question. Clark looks at his watch and thinks, "Jeezly Crow! I've only got a few hours before bugle! I guess I can help rebuild Atlantis before then!" Once again, Clark's reward for saving a woman in trouble is sex with that woman. This might be a problematic message. Clark saves Lana from violent men. Clark bangs Lana. Clark saves the reporter from violent men. Clark bangs the reporter. Clark saves Lori Lemaris's ruined city from violent men and their submarines. Clark bangs Lori. I always suspected that sex was an expected reward for acting chivalrous! Thanks, Frank Miller, for justifying all the times I called a woman a bitch because she wouldn't sleep with me after I saved her by beating up a guy that had just called her a bitch! This is the Internet so I should probably explain that the previous sentence was a satirical critique of Miller's problematic message. I mean, sure, impressing a potential sexual partner is a good way to get that person interested in becoming your sexual partner! So the Lori Lemaris plea for Clark to fuck her hard after he helps isn't the worst depiction of a relationship. But having two other women saved by Clark from brutes who are threatening non-consensual sex reward Clark with sex is the worst depiction of a relationship. Also, the story doesn't explicitly state that Clark and the journalist from the bar have sex. But I can read between the panel breaks! A critical review aside: Frank Miller's narration in this series is confusing. Sometimes it's in third person and then it flips over to first person without the current narrative thought changing at all. It reads as sloppy, probably because it is sloppy. Clark and his fellow Navy SEAL recruits go on an emergency mission to kill some pirates. Clark watches a bunch of pirates get shot in the head but he doesn't pull the trigger so nobody can accuse him of having killed a man. In fact, he saves a bunch of men by holding a grenade in his hands as it blows. But because he refused to kill on command, he's discharged from the Navy. I guess the American military doesn't have time for people who won't follow an order to murder. Before Clark leaves the Navy, his commanding officer decides to give him some good advice about using his talents to help put fires out instead of causing more. Odd advice coming from a guy so hell bent on threatening to kill Clark and screaming at Clark to kill everybody he meets. I guess he's a complex character! After Clark leaves the Navy, he walks into the ocean to battle Poseidon for the hand of his daughter, Lori. Poseidon doesn't want Clark fucking his daughter because he wants to fuck his daughter. That's not something I made up the way I make up so many other things. Frank Miller made that bit up. I don't know why. Couldn't Poseidon have just not wanted his daughter marrying a non-Atlantean instead of making it about Poseidon wanting to be the only person fucking his daughter? Luckily Clark defeats Poseidon's Krakens so no father fucks their own daughter in this series, no matter how much I bet Frank Miller's original script read, "Poseidon fucks his daughter. A lot. Over and over. Oh boy! What a hit this comic is going to be!" In the end, Poseidon leaves the throne to pout and plot his revenge against Clark and the entire surface world. Clark and Lori settle down to rule Atlantis for as long as it takes me to read the third and final issue where, I'm certain, Clark will leave Lori to pursue his true love: writing opinion pieces about Superman for the Daily Planet. Superman: Year One: Book Two Rating: The first issue wasn't so bad that I didn't not want to read the second issue. But this issue was so terrible that I'm not sure I'll have the patience to write about the third issue. If I never post a review of the Book Three, it's because I just couldn't bare to think more than superficially about Frank Miller's writing. Also I might have simply thrown myself off of a building because John Romita Jr's art was so fucking terrible.

#Superman #Year One #John Romita Jr #Frank Miller #Black Label #DC Comics #dc black label

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btvs · 5 years

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Pop Queens of Heartbreak: Deconstructing Why Marina Diamandis and Lana Del Rey Are Often Compared to Each Other

Fans of one artist are often fans of another who has a similar style. Usually, these two artists hate being compared with each other and claim to be individual. Marina Diamandis and Lana Del Rey are an unusual case of this, because they became friends after so many fans wanted them to collaborate. People somehow think Marina and Lana are the exact same style since they share a large group of fans. Marina Diamandis and Lana Del Rey are widely seen as synonymous, and while they do have a lot in common, they are both individuals who have unique and distinct styles.

Marina Diamandis and Lana Del Rey are both pop music - but they are on opposite ends of the pop genre. Lana Del Rey is seen as a pop artist, but she has a lot of rock influences in her instrumentals. Her style, mostly during and after the Ultraviolence era, resembles the voice and instrumentals of Stevie Nicks, the deep lyrics and tone of Fiona Apple, and some elements of 60s-70s psychedelic rock. Her music seems like what old movies would sound like in music form. She has been described as indie “sad-core”, and her music hits hard. Generally, Lana sings about men, money, and drugs. However, her lyrics are anything but superficial and they go along with the beautifully melancholy theme of her music. She is extremely introspective and intellectual, and she has a sardonic view of the world which is reflected in her choice of words. Somehow, Lana manages to both be pessimistic and transport the listener to a different place where everything is dreamy. Unlike Lana’s music, Marina’s music is generally under the categories of dance and bubblegum pop. Her music is simultaneously existential and upbeat. While she does have some slow songs, she never strays from the pop genre. Electra Heart is specifically her most bubblegum pop album because it goes along with her theme of the American Dream and contrasts starkly with her somber lyrics. Although these artists have differences style-wise, they use their voices in a similar way. They challenge the norm of radio pop music with their alternative pop production but do it in different ways.

Lana and Marina are both interested in psychology and philosophy, so their music is deep and their lyrics make you think. Marina has multiple songs about social issues. A specific example is the track “Savages” from her album Froot, which she wrote after the Boston Marathon bombing. It discusses villainous human traits and contains lyrics concerning rape and murder: “We live, we die, we steal, we kill, we lie / Just like animals, but with far less grace.” Another song in which Marina expresses her opinion about society is the song “Sex Yeah”. “Sex Yeah” focuses on the topic of feminism and how women are treated in the media. She describes her personal experience with how society has treated her as a female pop artist: “If history could set you free from who you were supposed to be / If sex in our society didn’t tell a girl who she would be / Cause all my life I’ve tried to fight what history has given me.” The album in which “Sex Yeah” is a part of is called Electra Heart. It is a concept album and project that is based around a character that Marina created, Electra Heart, to express different personalities: the housewife, the homewrecker, the beauty queen, and the teen “idle”. Each of the songs on this album correlates with one of those personalities. The album and project as a whole guide the listener through an experience of Electra’s life as she struggles with identity issues, depression, and challenging society. Lana Del Rey also has many personas she displays through her music, but it is caused by her changing personality and not from a character she created. Her first album, Born To Die, presented a young, plucky-yet-depressed teen persona. Her next album, Ultraviolence, was the epitome of a cynical look on unhealthy relationships. Her two following albums, Honeymoon and Lust For Life, display a woman who is more satisfied with life. Lana Del Rey has subtle references to psychology in her music, most of which are more philosophical. The first reference I noticed was in her song “She’s Not Me (Ride Or Die)”, where she sings, “Remember, I’m the ghost in your machine.” I was curious as to what that meant, so I immediately looked it up. The concept of “ghost in a machine” references the philosopher Gilbert Ryle, and is described as “the consciousness or mind carried in a physical entity.” After listening to Lana’s music over and over I picked up on other psychology and philosophy-related commentary. Her way of talking about it is through poetry, unlike Marina who directly discusses society.

Marina Diamandis and Lana Del Rey both cite many inspirations for their music. Marina Diamandis’s Electra Heart was heavily inspired by Cindy Sherman and her different personalities that she portrays in her photography. Electra tries on all of those personalities to try and find her true self - but she does not have a real identity. The album was also influenced by the ideas of the American Dream, much like her previous record, The Family Jewels, which is themed around Marina’s desire for success. Marina has described the Electra Heart character as the “goth Britney Spears.” Marina also gathered inspiration from Madonna, Marilyn Monroe, her parents’ music tastes, and 90s pop. Marina took a psychology class while writing her newest two-part album, LOVE + FEAR. She created a Tumblr page, marinabook, on which she posted her life updates and opinions on topics. One particular topic she discusses is how society views being alone. She references other sources on this website as well. Just from observation, it is clear that Marina talking about her life, psychology, and reading books influenced her recent album. Lana Del Rey’s inspiration comes mostly from older sources; she usually references old artists, poetry, and films. It goes along with her style as a poet. For example, one of her interludes consists of Lana reciting a poem by T. S. Eliot. Both Lana and Marina’s inspirations are heavily portrayed in their own art. It is clear that they look up to their idols.

Many people who are fans of Marina Diamandis are also fans of Lana del Rey because they categorize them as the same genre when in reality it is more complicated than that. They have similar ways they approach the pop genre, the way they honor their idols, and their favorite topics to write and sing about. Within these categories, though, they have many differences. It is reasonable to compare two artists, but it is necessary to notice their distinctions as well.

#marina and the diamonds #marina diamandis #lana del rey #pop culture #writing

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stormyniqhts-blog · 5 years

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hey, guys!! i’m sora and i’m happy to be here. i just want to start off by talking a bit about myself. such as having a love for anime, disney movies, doggos, and uhh, i’m also recently binge watching stranger things s3. anyway, this will be a super mega intro post as i’ll be putting all my charas into one intro, so here’s info on julie tran, layla evans, frankie sullivan, and dylan grayson!!

edit: i also have a general plots page, but i’m open to anything outside of it!

if you want to go through a specific chara, all you have to do is ctrl+f and type “--chara name”

--JULIE TRAN

* lana condor. twenty-three. female. she/her. | did you see julie tran this morning on main street? i heard they were heading towards the protests. they’ve been in ballard for all her life and last time i spoke to them, they were a sales associate. if i remember correctly, they’re a scorpio and they remind me of colorful striped tops, lazy sundays, sunbathing probably because they’re sociable and prim.

about

things seemed like a picture perfect image for the girl when she was young. she helped her family with chores, worked hard in elementary and middle school classes, etc. however, by the time high school rolled around, her relationship with her parents weren’t exactly the same. she realized her dream of becoming a fashion designer, which they didn’t approve on due to how they wanted their daughter to work in the medical field.

at first, she agreed on dropping the dream and went on with doing well in her classes. except, she never gave up on her dream. when she finally graduated high school, she moved out of her parents’ place with saved up money and hardly talked to them since then. she felt guilty for not being who they wanted her to be, but being away felt better than trying to be someone she didn’t picture herself as.

soon, her parents decided to move away too and the relationship between her and them became more estranged. now, she’s in the process of improving her designs while working as a sales associate.

tl;dr basically a girl who wants to be a fashion designer someday and has an estranged relationship with her parents.

details

character aesthetic + inspo

disgust (inside out), wendy darling (peter pan), tori vega (victorious), lara jean covey (to all the boys i’ve loved before), jane sloan (the bold type), lady (lady & the tramp), mabel pines (gravity falls), cher horowitz (clueless).

traits

insecure, loyal, motherly, organized, passive, picky, prim, self-righteous, sociable.

personality

she’s basically a mom friend. anything you’ll need, she’ll more than likely have it. she’s also always there for her loved ones no matter what, whether it’s early in the morning or late at night.

she tends to think of her friends and others before herself. adding onto this, she tends to not say no to others because of how helpful she wants to be, so at times, she’ll feel overwhelmed or exhausted.

the reason why insecure is added is because she feels as if she’s quite bland. that there’s really no unique trait about her. sure, she cares about others, but she feels there are so many people in the world that are also caring and it’s not exactly something different.

julie can also be quite self-righteous because she thinks she knows what’s best for people and just doesn’t realize she may bring harm.

aesthetics

colorful striped tops, lazy sundays, sunbathing, single-colored sunglasses, ponytails with ribbons, white blouses with collars, cup of tea, clothes organized by color.

style

she’s known to wear black mary janes, neutral colors or single-colored outfits, and is usually seen wearing blouses with skirts or dresses. once in a while, she’ll wear a patterned top or bottoms.

headcanons

she’ll always have necessary things in her bag. such as snacks, band-aids, tylenol, tissues, etc.

as she dreams of being a fashion designer, she has sketchbooks filled with clothing designs.

she has a small orange kitten named oliver (because of oliver & company)

--LAYLA EVANS

* danielle campbell. twenty-eight. cis female. she/her. | did you see layla evans this morning on main street? i heard they weren’t heading towards the protests. they’ve been in ballard for all her life and last time i spoke to them, they were a worker at twice new and housekeeper at horizon suites. if i remember correctly, they’re a leo and they remind me of matching lace bras & thongs, waves crashing against the shore, piggyback rides probably because they’re adventurous and stubborn.

about (tw: mentions of death & abuse)

one would think she’s the happiest girl alive with her parents. they would spend a lot of time together, watch layla during her ballet recitals, and eat dinner at the dining table every night. things were immediately different the moment her dad passed away when she was nine years old. since then, her mom began ignoring her because of how much the girl reminded her of her husband. layla learned to take care of herself soon enough.

things were spiraling down from there. once she was in middle school, she started rebelling and causing trouble. she destroyed properties, stole from stores, etc. when she became a high schooler, she started failing classes and took summer school, partied almost every night, drank a lot, and almost got expelled. the only reason she didn’t was because her advisers and teachers gave her a second chance to improve. she ended up taking it. by her junior year, her behavior was improving gradually and worked harder at bringing up her gpa. the reason why she took the second chance was because of her dream to be a best-selling author and to go to college. which she was accepted into.

nonetheless, she may not be a writer at the moment, that doesn’t mean she plans to forget her dream. she just wants to use up more time to improve on her writing. she’s talked to multiple publishers and is just continuing to grow for now.

tl;dr she’s had a rough past and just wants to be a best-selling author.

details

character aesthetics + inspo

n/a

traits

adventurous, childish, impulsive, obstinate, promiscuous, valiant, vulgar

personality

layla’s very outgoing and sociable. she loves hanging out with people, whether it’s going to a party, drinking, going out for food, road trips, or just having a simple picnic or laying on the ground to look at stars. she’s just always looking to have fun and definitely a party animal. almost any party you see, she’ll be there.

she also stands up for those who are close to her heart and can be reliable as she’s there for them no matter what.

nonetheless, once in awhile she’ll get an idea and quickly act on it. and even though she can be wrong at times, it does take her a moment to admit it.

aesthetics

a journal full of words, matching lace bras & thongs, waves crashing against the shore, piggyback rides, the comfort of someone being there, wanting to hear the words ‘i’m proud of you’, hands gripping bed sheets, police sirens, worn out ballet shoes.

style

basically her fashion consists of all kinds of shorts (mainly booty shorts and ripped ones), crop tops, oversized hoodies and shirts, spandex shorts, tops that show off cleavage, fishnets, and occasionally skirts + denim, ripped jeans.

she has a few very nice dresses too.

headcanons

she has this tattoo on the back of her left arm and this tattoo in the same area.

she’s bisexual and proud of it.

other labels that can define her: the dirtbag, the halcyon.

one of her most prized possessions is a necklace her dad gave her.

--FRANKIE SULLIVAN

* chloe bennet. thirty-one. cis female. she/her. | did you see frankie sullivan this morning on main street? i heard they weren’t heading towards the protests. they’ve been in ballard for 2 months and last time i spoke to them, they were a ceo of a florist company. if i remember correctly, they’re a virgo and they remind me of a hot cup of starbucks coffee, plants scattered throughout the bedroom, reading alone in a library probably because they’re generous and reserved.

about

a girl who was born in las vegas, nv. she had wonderful parents that divorced when she was fourteen. however, she didn’t mind it at all. she was happy as long as they were. plus, she wanted a bigger family, so if they were going to remarry to other people, she was oddly okay with it too. mainly because of how she always wanted a bigger family since she’s an only child. eventually, that was what happened. five years ago, her dad remarried and soon, frankie had a step-mom and step-sibling. at first, she cared about them due to how much family already meant to the girl, but as months became years, she soon grew suspicious over the relationship between her step-mom and dad.

years ago, she was betrayed by her closest friends and now has a cynical view because she wasn’t able to forgive them. she was told multiple times to get over it, but couldn’t. she continued to wonder how people can be so close then do something harsh to another. it still astonishes her now and from that point on, she didn’t really let anyone into her life, thoughts, or feelings.

tl;dr one who prefers being with plants than people

details

character aesthetics + inspo

n/a

traits

adaptable, distant, generous, grouchy, reserved, responsible

personality

she tends to be pessimistic because of her past and doesn’t want history to repeat itself, so she tends to not get too close to others. she may have two or three friends, but that’s about it. plus, she can be quite rude and cold-hearted to push others away.

however, she’s also very giving when it comes to charities because with so much money, she still wants to be kind to others, especially those who are in need.

when things change in her life, however, she faces them head on and is just calm about it.

aesthetics

walk-in closets but wearing the same 5 outfits, walking through trails, smelling fresh air, having polaroids of flowers, black hair ties, not needing glasses but wearing them for fashion, stacks of books that were actually used and read, a hot cup of starbucks coffee, plants scattered throughout the bedroom, a person reading alone in a library, being the wallflower at a party

style

most of her style is denim and single-colored tops with a lot of neutral colors. she tends to leave her hair longer than her shoulders and mainly leaves it down, but will put it in a ponytail once in a while.

headcanons

can be labeled as the anthomaniac or the recluse.

she comes from old money from her dad and new money from her mom.

the idea of frankie was originally from wanting to play a flower child, but not in a stereotype way.

she owns a florist company, but wants to place a shop in ballard.

she has this tattoo on her side.

her whole apartment is filled with plants, real and fake.

she has an ex who cheated on her when they were dating.

frankie prefers to use her time indoors watching movies/tv shows, taking care of her plants, reading, or simply going on the internet.

if anything, she’s mainly the type to have a one night stand, but has kept only three or four friends with benefits all her life. and has one or two close friends.

--DYLAN GRAYSON

* rose park. twenty-four. cis female. she/her. | did you see dylan grayson this morning on main street? i heard they weren’t heading towards the protests. they’ve been in ballard for five months and last time i spoke to them, they were a voice actress & influencer. if i remember correctly, they’re an aries and they remind me of red lipstick, dealing with chaos behind doors, uploading youtube videos probably because they’re driven and shallow.

about

since she was a baby, she was already adopted by mr. and mrs. grayson, a well-known old money family. past generations owned a huge company for properties and built malls across the country. which didn’t seem like such a big deal to the girl growing up. all she cared about was belonging somewhere and being with a family. she was even happier to have grown up with siblings. even her biological parents hardly came to mind because she was happy where she was. however, the older she became, the more chaotic her family seemed. there would be scandals written in articles about her family, secrets being revealed, and it felt dramatic fights happened almost every week. nonetheless, it didn’t matter to the girl. she was extremely loyal to her parents and siblings. she swore she’d do anything for them.

for her childhood, she grew up in ballard and she’s loved the town deep down. she thought about how cute the place was and cherished everyone. a reason why when she left during the beginning of high school, she was quite sad for a while. soon enough, she got over it though. she attended a private school, made friends with multiple people, and eventually graduated. moving onto college, she went to nyu then later on received both bachelor’s and master’s in business. during her time in college, however, the town centre mall was already built and didn’t hear word of it at the moment. eventually, thinking she was mature enough and able to handle it herself, she was given the town centre mall as a gift at the age of twenty-four.

tl;dr she was adopted from a rich family, that she loves very much, and now owns the town centre mall

details

character aesthetics + inspo

the carringtons (dynasty 2017), fallon carrington (dynasty 2017), serena van der woodsen (gossip girl), stella (winx club)

traits

ambitious, cautious, driven, loyal, protective, shallow, materialistic

personality

she’s very determined and hard-working. when she wants something, she’ll do better than doing her best and work on getting it.

with being materialistic and shallow, she tends to think about appearance first. during her high school years, she

aesthetics

microphones, red lipstick, dealing with chaos behind doors, uploading youtube videos, studio booths, scripts, shopping bags with expensive brand names, diamond necklaces, family portraits

style

80% of the time, she’ll be seen wearing a dress or matching 2-piece outfits. the other 20% are filled with patterned tops, jeans, faux fur coats, and skirts. a bit less than half of the dresses she own are sparkly too. while her shoes are mainly high heels and knee boots. as for her hair, she mostly leaves it down. she’ll also be seen wearing jewelry everyday.

headcanons

the girl just loves to go shopping. she’ll take anyone to go shopping with.

the reason one of her occupations is voice actress is because during her summers in high school and college, she took up jobs in voice acting since she wanted to go out into the entertainment business for a while, but didn’t quite feel comfortable singing or acting for tv shows and movies. she just preferred being in a booth and saying lines.

as for influencer, it started during her high school years as she mainly gave fashion advice and worked on make-up tutorials.

#ballardintro

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