#it's still better than d'arby's though | Explore Tumblr posts and blogs

tonberry-yoda · 2 years ago

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I don't know it if ur alright with jojos angst, BUT here's a prompt I think abt a lot. Dio is seen as cruel and emotionless right? (Cuz he is) but let's say his S/O dies protecting him, and to out a cherry on top of the cake he had literally been treating his S/O terribly as of late due to being blinded by his mission to kill jotaro and for power.

If u can't tell I love angst.

okay, i know i dont usually write heavy angst, but this just feels right. like it's the perfect prompt, plus i wrote something super similar a long time ago and wanted to make it better! also, obsessed with the kitty photo. Thank you so much for the request @kindadolly and I really hope you enjoy!!! <3

Why? - DIO

Pairing - DIO x reader

Warnings - heavy angst, death, spoilers for part 3 of jjba

Word Count - 993

Notes - thank you so much for the request again! this one is really heavy, so if you arent comfortable with the warnings above, do not read this one. i quite like it though and it was definitely something else to write that's for sure. i definitely need to write some fluff later lmaoooo. enjoy and please stay hydrated everyone! <333

"DIO, dear!" You hummed, running into his room before throwing your arms around him. "We should go on a date." You smiled and sat on his lap. "We haven't done that in a while, huh? What do you say?"

You watched DIO closely, his bright blonde hair shimmering in the candlelight that lit up the dark room you were in. "No."

"No? What do you mean no?" You crossed your arms and jokingly pouted, hoping that he was just playing with you.

"I mean it. No." DIO grabbed you from underneath your shoulder and placed you on the ground, continuing whatever work he was doing at his desk.

"Are you kidding me?! After all I've done for you?! I've found more than half of the stands that work for you and you can't even get us a simple dinner out?!"

"You're overreacting now, pet."

"Call me that one more time." Your eyes went dark. This was getting old. "I'm not overreacting, DIO. You're too stuck up on taking down the Joestars and all that bullshit. I just wanted dinner. Maybe even a walk around Egypt. Is that too much to ask?"

DIO turned to you, his eyes almost glowing. "Yes. It is. Now leave me be, I'm busy."

You turned and walked out of the room, clearly upset. He had to be kidding, right? After all you've done and he treats you like that?! Who gave a rat's ass about some stupid 17 year old and his grandpa. Sure, you wanted to help DIO, but god this was getting old.

You found a nearby guest room and slammed yourself onto the bed, ignoring the dust flying off of the sheets. Who did that asshole think he was anyway?

You turned on your back and looked at the dark ceiling above you. You knew you were falling into a trap when he pulled you into his arms. When he told you he loved you. When his claw-like nails ran under your chin as he called you loving names. But to be honest, you really didn't care.

You knew what you were getting into. You knew what this would take. So why were you still so upset?

You were pulled out of your thoughts when you heard a light tap on your door.

You sat up, the dust around you looking almost like snow. "Come in."

The door slowly opened as Terence D'Arby peeked his head into your room. "Sorry if I'm interrupting anything, y/n."

"No, you're fine, Terence," you wiped your eyes that you just realized were filled with tears. "Is everything okay?"

"Everything is fine. I just wanted to inform you that it looks like the Joestars are about to arrive at the castle."

"Really?" You stood up.

"No need to panic. I have already informed Lord DIO."

You nodded and stayed in your place. "Well do what you must, D'Arby."

"That I shall," he bowed at you and stood back up with a smile. "This should be fun."

You giggled and watched him leave the room. "It should, shouldn't it?"

---

You're breathing was getting heavier and heavier. You clearly didn't train yourself well enough for this battle. Kakyoin, Avdol, and Iggy were already dead and it looked like DIO had taken care of Joseph Joestar and Polnareff, so maybe you could just sit for a little while.

You didn't even know why you were fighting in the first place. Well, you did. DIO wanted your stand in the battle. It was strong, so he needed it. But maybe you'd be doing a way better job if your own boyfriend had trained you or even taught you how to better use your stand without becoming so exhausted.

You took a deep breath and sat down on a nearby bench. Your chest felt like it was about to explode. And it didn't help that Polnareff had nearly kicked the shit out of you back there before DIO showed up. You coughed up some blood. Shit.

You were becoming lightheaded.

Dammit.

DIO could handle himself, right?

You stood up, miraculously, to check on him and it wasn't looking so good. Sure, you believed that DIO could take down a literal 17 year old, no matter how strong, but that stupid stand, Star Platinum, that was going to be the real problem.

You didn't know why, but you ran out, your lungs weak and your hands covered in your own blood, and covered DIO right as Star Platinum was about to finish the job.

---

DIO only remembers seeing your body fall to the ground and the world going quiet. He quickly lashed out at Jotaro and stopped time.

Shit, shit, shit.

"Darling?" DIO unfroze time and knifes went flying at Jotaro, seemingly knocking him dead. "Darling please."

DIO laughed, thinking you were just joking. Hoping that you two could go on that date you asked him for. Dammit why did he have to treat you like shit those last two days?

"y/n, this isn't funny. y/n please."

You opened your almost lifeless eyes and placed your hand on DIO's cheek. "Come on babe-" you were interrupted by one last coughing fit, apologizing for the blood you got on DIO. "We all knew you were going to outlive me anyway." You smiled and ran your weak fingers through DIO's hair.

"I know," DIO's tear fell onto your cheek and he wiped it away quickly. "I just didn't want it to happen so soon."

"Well, I'll see you in hell, won't I?"

"After how I treated you? Probably."

"Don't feel bad. You were just busy. I just..." you giggled, though not meaning to. "I really wanted to go on that date." Both tears and blood were running down your face as DIO placed one last kiss onto your cold lips.

When he pulled away, you were gone.

Why did he have to treat you like that?

He was going to kill Jotaro for this one.

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nerianasims · 4 years ago

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Billboard #1s 1988

Under the cut.

"So Emotional" -- Whitney Houston -- January 9, 1988

It's either a song about cheating or about being hung up on an ex. She's got a love of her own, but she's "so emotional" with this other guy, and keeps a picture of him by her bed. Um, does the other guy know this? Maybe she needs to have sex with the other guy so she stops being obsessed with the touch of the previous one. It's a dance song, and I like the beat, but it's painfully repetitive in the second half. Also, while I've known the chorus to this song very well since it came out, I thought it was a normal love song until I looked up the lyrics just now. Houston doesn't sing it like she's in any pain -- well, except I bet her throat hurt from the oversinging.

"Got My Mind Set on You" -- George Harrison -- January 16, 1988

Super repetitive lyrics. But the music's really fun, and I love what lyrics there are. I wish there weren't so few, though. "It's gonna take a whole lot of money" harks back to the many Beatles songs where they sang proudly about spending money on women they loved. Still, this is an example of how George was the best solo Beatle eventually. The video's cute, too, and obviously lampshades the idea of George Harrison doing backflips and dancing.

"The Way You Make Me Feel" -- Michael Jackson -- January 23, 1988

Michael Jackson was no Janelle Monáe. On so many levels. In this case, he wasn't anywhere near her artistic standard. This song does have the lyrics "Oh I'll be workin' from nine to five/ To buy you things to keep you by my side," but it sounds more like a Beatles rip-off than a tribute. I actually didn't remember this song at all, and the video is one of those annoying 80s ones that takes an entire minute to start the song. Then Jackson does a whole bunch of "woos" and "ows" and all that stuff he did that worked in moderation. But "moderation" was not what he was doing in 1988. In any way. He actually oversings in this. I turned it off halfway through. And immediately turned to Janelle Monáe's "The Way You Make Me Feel," which I adore.

"Need You Tonight" -- INXS -- January 30, 1988

This is one of my favorite songs. It's incredibly sexy, obviously. I didn't really notice it until I was around 15, and then I NOTICED it. As I got older, the song got better. The lines "You can care all you want/ Everybody does yeah that's okay" have meant so much to me ever since I started dating seriously. Because caring was not what you were supposed to do.

Anyway, this song is phenomenal and I love it.

"Could've Been" -- Tiffany -- February 6, 1988

This song was #1 for two weeks, and all the previous ones from 1988 have been one week. How? It's a heartbreak song that starts with the lyrics "The flowers you gave me/ Are just about to die," which is painfully on-the-nose. They'd probably work in a country song, but this is lite pop, not country. Tiffany occasionally seems to be trying to do some country stuff with her voice, which is smart. But that's not enough. It's not a terrible song, but it does nothing for me. I don't remember ever having heard it before.

"Seasons Change" -- Exposé -- February 20, 1988

Speaking of songs I haven't heard before. I like this one though. The music's pretty interesting, especially the melody. The singing's excellent. And the music behind "seasons change/people change" sounds exactly like some of the music from Persona 4, so I wonder if Atlus' composer was influenced by it, unconsciously or not. It's just a couple notes, though. Lyrically, the song is about being in love now but realizing it might not last. It's good. I'm gonna look up more of their music.

"Father Figure" -- George Michael -- February 27, 1988

The music for this song is great, and George Michael as usual sings wonderfully. But um. There are some kinks that make me run screaming even when they're really mild. "I will be your father figure/ Put your tiny hand in mine" are two of them. So if you enjoy this song, I'm happy for you, it's musically lovely. I will be going to take a shower now.

"Never Gonna Give You Up" -- Rick Astley -- March 12, 1988

There was a time when I would have easily been able to have an opinion on this song. That time was long ago. It's hard to hear as a song now, rather than an internet meme. But I will not give up. (The video has almost 9 million views, sheesh.)

Okay so they're friends and now he wants a relationship. He says "You wouldn't get this from any other guy," which is a total jerkass line. Other than that, the lyrics are -- oh who am I kidding, I can't do this.

"Man in the Mirror" -- Michael Jackson -- March 26, 1988

I try to separate the art from the artist. That's in both positive and negative directions. If I love someone's art, that doesn't mean they're a good person. If I hate it, that doesn't mean they're a bad person.

This song, though -- "I'm starting with the man in the mirror/ I'm asking him to change his ways" -- uh yeah. Liar. And it's wedged in with all this "oh you should care about all the starving kids and homeless people" self-sanctification that Michael Jackson always protected himself with. This song disgusts me.

"Get Outta My Dreams, Get Into My Car" -- Billy Ocean -- April 9, 1988

Speaking of disgust. Yay street harassment! I've never heard anything bad about Billy Ocean as a human being though. But I'm not listening to more than 5 seconds of this song. Gross.

"Where Do Broken Hearts Go" -- Whitney Houston -- April 23, 1988

She's singing to a man she wants to get back together with after they decided they needed some "space." There's a lot of naivete in the song -- "And if somebody loves you/ Won't they always love you?" No. Even if they do still love you, that doesn't mean it will work. But maybe it will. I've never gotten back together with someone after a breakup, though I've been asked to many times (percentage-wise.) I've always had an allergy to it, both because my parents got back together after divorcing and should not have, and because I had a friend who broke up with her boyfriend and got back together with him at least 8 times in the space of a year and I had to keep hearing about it.

So this song doesn't really speak to me. But it's pretty good. Houston sings it well too, reigning in the oversinging until near the end.

"Wishing Well" -- Terence Trent D'Arby -- May 7, 1988

That's an awesome name. The writer of this song said he wrote it when he was half-asleep, which makes sense. "Butterfly tears", okay, just poetry, but you want to fall in love near a well of crocodile tears too? Doesn't that mean you're faking? I like the song though. It's sort of funk, but softer than full-on funk. I like the way D'Arby sings it. The whistling part (keyboard whistling) is very enjoyable. It's a fun song, and one I do remember from the time.

"Anything for You" -- Gloria Estefan and the Miami Sound Machine -- May 14, 1988

A pretty breakup song. But, of course, I have an issue. "I can pretend each time I see you/ That I don't care and I don't need you/ And though you'll never see me cryin'/ You know inside I feel like dying." Well that makes his life a lot easier, doesn't it. The whole song is about how she'll do anything to make him happy. Urgh. She needs to tell him to get out of her life so she can make a brand new start.

"One More Try" -- George Michael -- May 28, 1988

Yet another heartbreak song. It's not surprising that I remember so few songs from this year. I feel like I'm back in the 60s before The Beatles again. Though this year is musically better, I'm still bored. Anyway, in this one, the narrator doesn't want to try again, and he keeps addressing the person he doesn't want to try again with as "teacher," which is... a thing. The only time he seems willing to try again is the very last line, which is "Maybe just one more try."

It's slow, it's pretty enough, it would be unbearably boring if George Michael weren't such a good singer. I'm bored anyway. No wonder we ran screaming from anything smacking of this kind of thing in the early 90s. I feel stupid and contagious.

"Together Forever" -- Rick Astley -- June 18, 1988

He certainly had a brand, didn't he? The song title tells you everything you need to know about the lyrics. The song sounds a lot like "Never Gonna Give You Up," but much more boring. A massive drum machine intro can't carry this. I do recognize the chorus, but that's it. The song is fine, really. But that's it. It sounds like a lesser knockoff of "Never Gonna Give You Up."

"Foolish Beat" -- Debbie Gibson -- June 25, 1988

Heartbreak song. Sigh. There's a nice cheesy saxophone that I like, at least. She left him and she regrets it and thinks "I could never love again/ The way that I loved you." Nope, it's never the same. That doesn't mean it's worse. It's often better. I'm not listening to the whole thing, not even in case the sax comes back. The song's too dull.

"Dirty Diana" -- Michael Jackson -- July 2, 1988

It's about some groupie trying to seduce poor widdle helpless Michael. I don't remember ever hearing this song, and it's musically whiny too. Yuck. So much yuck.

"The Flame" -- Cheap Trick -- July 9, 1988

Heartbreak. Song. Again. "You were the first, you'll be the last" oh no they won't. I entirely approve of being honest about heartbreak, but this year is just crushing with the monotony of it. At least there's a beat to this one.

By the way, in the video, the lead singer's hair appears to be made of straw. Ah, the late 80s, when people thought cooking their hair was the way to go.

"Hold on to the Nights" -- Richard Marx -- July 23, 1988

A heartbreak song in disguise. He's in love with this woman but they can't be together. Are they cheating? I don't know. I don't care. It's so boring, words and music both. Even the piano is blah.

Speaking of late 80s hair, it looks like Richard Marx used an entire can of Aqua Velva on his in the video.

"Roll With It" -- Steve Winwood -- July 30, 1988

This was a #1 hit for four weeks, and I know why. It's not boring! Or depressing! It's got kind of an old-fashioned soul sound: Horns, groove, lyrics. When life is too much, roll with it baby. Not profound, but this is a really good song. One I've heard quite a lot, too, on purpose and everything.

Also, Steve Winwood's hair would work fine today. Coincidence?

"Monkey" -- George Michael -- August 27, 1988

This is actually kind of a heartbreak song, but not really. The one he loves has a "monkey" on their back and he wonders if they love it more than they love him. Addiction is my guess. It's a high-energy dance song, though -- it sounds a little angry, not sad at all. I find the melody sort of dull, but at least there's a beat. But I'm sorry, "Why can't you set your monkey free" is an absolutely hilarious lyric, and I can't take this song seriously in any way.

I think I had the hat George Michael's wearing in the video.

"Sweet Child O' Mine" -- Guns N' Roses -- September 10, 1988

Okay, yeah, sort of a heartbreak song, the relationship sounds like it's a mess with "where do we go now?" sung a zillion times. But it's so good. SO good. And it's rock. It's no wonder that it's one of the few songs that have stayed around from this list. It's not some kind of mass-produced pap without personality. Only Guns N'Roses could do this. Great song, I love it, and I love it more knowing what came before it. Man, Slash can play.

"Don't Worry, Be Happy" -- Bobby McFerrin -- September 24, 1988

Yeah, I'm guessing people were horribly sick of all the overproduced depression on the charts this year. A lot of music critics, and other critics, were really nasty about it because of the simplicity of its lyrics and its earworm-ness. And we made fun of the phrase plenty as young teens in the 90s. But now? I think it's pretty good. Philosophically, it's a mess, but the music isn't serious so I don't think we're supposed to take it seriously. And I like a-cappella. It was played way too much back in the day, though.

(Robin Williams is in the video, which made me tear up. Oof.)

"Love Bites" -- Def Leppard -- October 8, 1988

Technically about heartbreak I guess, but I feel like they're lampshading all the songs from this year which may as well have had the same title. Probably not intentionally. I can't take this song the tiniest bit seriously. It's rock, but not with a lot of personality. Any hair metal band from the time with interchangeable bleached blond frontmen could have done it.

I think this guy used an air fryer on his hair.

"Red Red Wine" -- UB40 -- October 15, 1988

One is supposed to hate this song, or was I don't hate it. I was a kid when it came out, the pop reggae appealed to me, and I still find it fun. Neil Diamond, the original singer, likes it. I certainly find it more interesting than anything with Neil Diamond singing on it.

"A Groovy Kind of Love" -- Phil Collins -- October 22, 1988

It's a cover of a 60s song. "Baby, you and me/ Got a groovy kind of love." This version is incredibly slow, and doesn't have any interesting drum work from Phil. It doesn't make me angry, but it doesn't make me anything. It's there. My brain wandered off and I started looking at stuff on the internet while trying to listen to it.

"Kokomo" -- The Beach Boys -- November 5, 1988

I loved this song as a kid and no one is prying it from me. It makes me happy when I feel down. I got the Cocktail soundtrack this is on for Christmas in my stocking 1988 -- me and seemingly every other kid, I think the tape was massively on sale. I loved the soundtrack, and I especially loved this song. I will never see the movie. I always felt that the song was a middle-aged man singing to his middle-aged wife ("pretty mama".) Which I thought was sweet. I figured that's what middle-aged people did, went off on vacations to tropical islands sometimes, even though my parents never did. I want to though.

"Wild, Wild West" -- The Escape Club -- November 12, 1988

"Heading for the nineties," hm? Well one of the lines is "give me, give me safe sex," and safe sex messaging being absolutely everywhere was an early to mid 90s thing. It's always funny to hear someone with an English accent sing about something extremely American. This song does sound like it's heading for the nineties musically, which is good. Only heading toward though. It's okay, but not very interesting. The music is repetitive. I got bored halfway though.

"Bad Medicine" -- Bon Jovi -- November 19, 1988

Your love is like "bad medicine" and he's addicted. Like a monkey on his back. What's with that phrase this year? I don't recognize this song. It's overproduced, it's shouty, there's too much going on, and it feels like it's trying too hard. Nope.

"Baby, I Love Your Way/ Freebird Medley" -- Will to Power -- December 3, 1988

I'm used to the 90s cover of "Baby, I Love Your Way" by Big Mountain. And I don't think I'm being biased when I say the Big Mountain version is significantly better. The lead singer of this one, a woman, is way too breathy and mannered.

The "Freebird" portion is bad. Just plain bad. The man singing is also breathy and there's absolutely no oomph. Also a lite, bouncy pop song in which the woman is singing how much she loves the man and the man's like "no I gotta be free" is blech. It does not work.

"Look Away" -- Chicago -- December 10, 1988

This was Chicago's biggest single. The narrator's ex called him to tell him she's with someone new, and he pretends to be happy for her, but wants her to look away so she doesn't see the tears of a clown -- er, no, that's a better song. Same idea though.

A heartbreak song, but I don't mind it, because it's got some blood to it. It's not slow and there's a real beat. Also Peter Cetera wasn't with Chicago any more, so Bill Champlin's the lead singer here, and he's so much better than Cetera it's ridiculous. Champlin brings some guts to the song, he doesn't sing through his nose, and he sounds truly heartbroken. Worlds better than Cetera. So it's a good enough song, if you're in the mood for that kind of thing.

"Every Rose Has Its Thorn" -- Poison -- December 24, 1988

I never minded this song before at all, but I am so sick of this kind of song at this point. Whine whine whine every cowboy sings a sad sad song. You're no Johnny Cash, dude. He said something wrong, he doesn't know what it was, they broke up and he still doesn't know why -- okay, who does this? Actually wait, I know one person who did this, and he keeps saying he has no idea why either of his wives broke up with him and I do because I was there and they told him they would break up with him if he didn't change. Over and over and over and over. And now he's like "poor me, I don't know why this happened. " He probably doesn't, either. He cannot admit fault.

Anyway, projections of my own personal trauma onto a hair metal band aside, the narrator’s ex is now with someone new and he thinks "I never meant that much to you." Maybe, maybe not. Cowboy, change your ways today.

BEST OF 1988 -- "Need You Tonight" by INXS and "Sweet Child O' Mine" by Guns N' Roses. WORST OF 1988 -- "Get Outta My Dreams, Get Into My Car" by Billy Ocean

#billboard number ones #there are a lot this year

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hjazysol · 5 years ago

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Cassidy: Michael!

Michael: What's up Cass?

Cassidy: We've been given a request from a Spirit User to help apprehend a woman for their friend to press charges against her.

Michael: Well that sounds serious. Why don't you just ask sis to help you out?

Cassidy: But I... ...I wanted to do fun stuff with you today...

Michael: ... ... ...(Sighs, then smiles) Alright then who we strikin'?

Cassidy: So as I said. A request from a man in Egypt. Vanilla Ice. A follower of his has apparently been done wrong by a woman who is here in Brazil. Her name is Jennifer Michaels.

Michael: Alright. And we are to off her then?

Cassidy: We could but they'd rather go through the legal apparatus required.

Michael: And what's the main clients name?

Cassidy: They simply just go by Arctic.

Michael: Ok. Then we're obviously gonna need to track this women down. I'll use Beastie Boys to rework my phone to a tracker. I'll take the photo from the file then rework it into the phone. That way it can find a specific person.

Cassidy: Is that even possible?

Michael: With my Spirit yes.

Cassidy: Fair enough.

Michael: I have a question. If this Arctic guy is a Spirit user why can't he deal with her?

Cassidy: She has a daughter. Her Spirit's super strong apparently. Made the guy deaf. Now they use hearing aids.

Michael: You sure we shouldn't get sis then? Her Spirit would help out with this daughter of Jennifer's. Could tear her out from existence easy.

Cassidy: We aren't killing them remember?

Michael: Right. Where's this Vanilla dude then?

Cassidy: Oh he went back to Egypt now, his follower should be there aswell. And we're to send Jennifer right over there after we get her.

Michael: Alright then. Let's go.

Cassidy: Yes! Sis we're going out on a mission!

Kelly: Ok! You need my help?

Cassidy: We'll be fine!

Kelly: You sure you don't need a good look hug from big sis?

Michael: We'll live.

Kelly: Ok! Rake in the gold guys! Bye! Have fun!

_____

Bryce, in casts & bandages: Yo! Can someone scratch my nose?

Irving: No do it yourself.

Bryce: I would but ya'll broke me.

Ronan: Guess you need a hand then huh?

Bryce: You people are not funny.

Jona: Why did you try and steal from us? That's not cool you know.

Bryce: I have no reason to tell you guys anything that's for me & me only to care about.

Jacqueline: What if we punched you in the face again would you be willing to cooperate?

Bryce: Hey hey hey! Let's not go crazy! If you really must know I need money.

Irving: I doubt someone like you needs to worry about money.

Bryce: No I need a plane to Egypt!

Irving: Again you have money!

Bryce: I don't have any details to give them.

Irving: What like a passport.

Bryce: And even then I still have nothing like info on me.

Ronan: ... ...Why do you need a plane anyway?

Bryce: ... ... ...Back in America. I grew up in a poor family... ...I started the con artist gig. At a super young age man. Got lots of cash. Got my family a proper home. None of my brothers or even my parents were really educated. We never went to school. Then one day coming back from a gig. My family has been cast across the walls as some sick decoration. I hated it! It was shit! And unfair! I was on my way to Egypt to kill the man who was involved with the death of my familia! Daniel J. D'Arby. I planned on paying off the guys at the plane area. To let me go by.

Jona: You mean an airport?

Bryce: Yeah. After that I was gonna give up conning people for good. I would finally be at peace. But you guys had better plans.

Irving: A melancholy tale that is certain. But still either way it was your actions that lead to your families death was it not? So basically it's your fault.

Ronan: Irving!?!

Bryce: Your right...

Ronan: Huh?

Bryce: ... ...I'm a failure... ...

Irving: But that's ok you know. Even though you've made a mess of this life in the past you can always make a difference now in the present.

Bryce: I suppose you're right...

Ronan: Huh. He took that alot better than I expected.

Bryce: Hey how come he's stood on his own over there?

Jona: That's Alois and for your information "he" goes by "They."

Bryce: ... ... ...Since when is "They" a gender I thought you use they when referring to a group of people?

Jona: Well we call that being Non-Binary.

Bryce: (Cos(35)×22) Wait is it Maths?

Jona: No!

Bryce: Then what does it mean to be Non-Binary?

Ronan: Well if you're Non-Binary you prefer being referred to as they than he or she.

Bryce: So like if I said "It" would that count.

Irving: Err. No that's just rude.

Bryce: But isn't saying "They" just as bad?

Irving: Well no because it's alot more offensive like if you call them by "It" it's almost as though you're calling them abnormal.

Bryce: I see.... ....But what about their name? Alois from what I know is a German boy's name so as a Non-Binary wouldn't they prefer to change their name to something for both genders?

Ronan: Well that's not always necessary like that's up to them entirely.

Bryce: (Smiles) Hah! I learned something! Is this what school's like?!

Jona: Well yes but actually no.

Bryce: Shit.

A loud bang occurred from the ground gloor of the hotel.

Jacqueline: What the hell was that!?

Ronan: Did something explode?

They all went down to investigate leaving Bryce behind.

Michael: Cass! Did you really need to do that? You could've just opened the door instead of using Gangsta's Paradise.

Cassidy: Well that's just boring Michael! Learn to live a little!...Oh we have guests!

Michael: Huh?

Irving: What the hell do you think your doing!?

Cassidy: We're looking for someone so please don't mind us.

Irving, sees Gangsta's Paradise.

Irving: A Stand?

Cassidy: Huh?...Wait you can see this dude? Bro! I think these guys have Spirit fighters aswell!

Ronan: Spirit fighters? Does she mean a Stand?

Alois: ("Let's wreck them")

Cassidy: Oh you speak in signs? Well I'm sorry... ...Sir?

Michael: I thought they were a girl.

Cassidy: Meh. You will not be wrecking anyone! My Spirits are way stronger than any of yours I assume. And I don't even want trouble. Besides I only fear one other Spirit user and that's big Sis Kelly's Bad Habit. So I'll do the pleasure of introducing mine to you since this is only gonna go one way!

Alois: ("Ah shit here we go again")

Cassidy: My Spirit is Gangsta's Paradise! It uses the tubes on it's fingers to fire infinite bullets from it's-

Alois appeared infront of her and sent out a punch.

Cassidy: What?

Seconds before their fist made contact Michael appeared in front of Cassidy then blocked it with his arm braces.

Michael: Don't you dare interrupt my sister! The nerve!

Michael threw Alois over his shoulder then slammed them into the ground

Micheal: I tolerate a lot of things. But that really pissed me off.

Alois now just as outraged sent out Up In Flames to attack Michael.

Michael: Huh? (He jumped back)

Alois: ("I'll kill you!!!")

Up In Flames used the kinetic energy from Michael's jump to electrocute him.

Michael: GAH! What the hell is this? Electricity?

Alois: ("Yes. Up In Flames is entirely made of electricity & it uses kinetic energy to electrocute or burn")

Michael: Oh does it now? Heh! Then in that case...Beastie Boys Act 1!

Alois: ("What!? What could he possibly be planning with that Stand? It looks weak. Still I should stay on my guard")

Beastie Boys then went on to devour the electricity around their master, moving it to the side of him.

Alois: ("What!? They just moved the attack away!?")

Michael: That's right. Beastie Boys can destroy, rearrange or disassemble anything that is metal or that gives off an electrical current. So you said your Spirit is entirely made of electricity right?

Alois called back Up In Flames immediately.

Michael: Clever choice my friend. Cause let's say that Beastie Boys were to attack your Spirit. Well let's just say! You'd be dead before you could even scream. And let's be honest using fire here would danger everyone else.

Alois: ("Someone else take care of these guys")

Cassidy: Hey! No fair I didn't get to explain my Spirit!

Michael: Oh sorry you can go now.

Cassidy: Nah. It's fine they can figure it out. Gangsta's Paradise!

GP started to shoot at the others across the room. They all went to get to cover.

Gangsta's Paradise: Khekhekhekhekhekhe!!!

Jacqueline: Shit! It got my leg!

Ronan: Irving! Can't you just move past all these!?

Irving: While yes I could I wouldn't be able to guarantee I could avoid all of them. Look. That Stand's bullets come out a millisecond behind one another it'd be impossible to avoid everything. So what do we do?

Michael: Ok let's go get her!

Cassidy: Right! Gangsta's Paradise keep firing at them. Sorry about this but we can't have you guys preventing justice. Jennifer is to be turned in today! Bye bye!

Cassidy & Michael left.

Jacqueline: Wait...Jennifer!?

Ronan: Who's Jennifer?

Jacqueline: ... ...That's!...JENNIFER'S MY DAMN MOM!!! YOU FUCKER'S AIN'T EVEN DREAMING OF TOUCHING HER DAMNIT!!!

Jacqueline ran out from her cover.

Irving: WOAH ARE YOU CRAZY!?

Jacqueline: BEAT IT!

Beat It deflected all of the bullets sent it's way.

Michael: Woah.

Jacqueline: Hah! Gotcha! That neck thing must be it's weak point! Beat It punch it!

Beat It: KATE!

Beat It hit the Diamond on GP's neck piece. Beat It was sent flying across the room and so was Jacqueline.

Jacqueline: What the hell!? GAH! Go again!

Beat It went to attack again.

Cassidy: Sorry miss but it seems you've already lost.

The second Beat It made contact with Gangsta's Paradise Jacqueline began to turn into a card.

Jacqueline: What!? WHAT THE HELL!?

Cassidy picked up the card.

Cassidy: Let's see then your name is Jacqueline Michaels! So you're the Spirit user that Arctic spoke of. Don't worry I'll change you back once we're done here.

Ronan: Give her back you naive brat! The Night!

Ronan sent The Night forward to attack Cassidy.

Cassidy: Hmm?...Heh. Mr Blue Sky!

Ronan: What? Gah!

A large blue figure grabbed onto Ronan's finger. It bent it backwards til it eventually snapped it.

Ronan: Gah! The Night create an illusion!

Cassidy: I think I went too far bro.

Michael: Don't worry sis can fix him you know she always follows us even if we say we'll be fine. And besides we've got Mr Blue Sky. What could possibly happen?

Cassidy: Your right! Alright then it's time to knock you guys down for good! Go Mr Blue-

Michael suddenly fell to the floor

Cassidy: Michael!? ACK!

Cassidy also fell. Delta appeared in the doorway. He was the one who took them out from behind.

Delta: ("Well then it looks like that's sorted. Hello there I'm Delta Kancri! Coast Guard!")

Jacqueline reverted back to normal.

Jona: Oh thank you...(After all that and some guy just appears and takes them out? Those two should be more cautious)

Irving: That Stand. That was the Stand that killed that guy earlier. She was the user.

Jacqueline: You mean the blue one?

Ronan: That's not the biggest problem right now.

Jona: What do you mean?

Ronan: I think that. Well. I think that "Big sis" has arrived.

Kelly: Surprise! Hahahaha! Oh wow! You guys really did a number on those two huh? Hahah! It's hilarious!

Irving: Who is this?

Kelly: Man if only they'd brought me from the start right! This could've all been avoided! Hahaha! (Suddenly turns super serious) But it seems that some don't fear pain. Ready to learn what happens to those who mess with my family? I'm about to break every bone in your bodies.

@hopeaterart

@lyxine

#jojo #jojo's bizarre adventure #jojo au #irving #ronan #jona #jacqueline #cassidy #micheal #alois #kelly #delta

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blackkudos · 8 years ago

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Jody Watley

Jody Vanessa Watley (born January 30, 1959) is an American singer, songwriter, record producer, and pioneering trendsetting artist in music, video and style whose music crosses genres including pop, R&B, jazz, dance and electronic soul. In 1987, she won the Grammy Award for "Best New Artist." Along with Janet Jackson and Madonna, she ranks as one of MTV Video Music Awards most nominated female artists ever, with six nominations for her ‘Real Love’ video.

In 2008, she was the recipient of a Lifetime Achievement Award from Billboard magazine, and was also prominently featured in the historic black issue of Vogue Italia in 2008. Her early music influences are Diana Ross, Marvin Gaye, Stevie Wonder, Michael Jackson, The Jackson 5, The Carpenters, Roberta Flack, Prince, Grace Jones and various jazz artists including Nancy Wilson.

In December 2016, Billboard magazine ranked her as the 21st most successful dance artists of all-time.

Early career

Soul Train and Shalamar (1977–1983)

Watley was born in Chicago, Illinois. Watley made her first stage appearance at 8 years old with family friend and godfather Jackie Wilson. She got her start on the TV dance show Soul Train at the age of 14. Documented by Ebony magazine in 1977 as a part of "The New Generation," Jody Watley was one of the most popular on the show and recognized as a trendsetter for her style and dance moves. As popular stand-outs on the television show, Watley and fellow Soul Train dancer Jeffrey Daniel were selected to join Gary Mumford and become original members of the R&B group Shalamar by show creator Don Cornelius. (Mumford was shortly replaced by Gerald Brown, and Brown himself was soon replaced by Howard Hewett as lead vocalist). The lineup of Hewett, Watley, and Daniel would be the most successful. Watley remained with the group from 1977 to 1983. The trio released several albums and scored several hits including the US Top 20 "Dead Giveaway", and the R&B hits "The Second Time Around", "For The Lover In You", and "A Night To Remember". Because of conflicts within the group, disagreements in direction of Shalamar with Dick Griffey and lack of payment from Solar Records, she eventually left the group in 1983 prior to release of "The Look" album.

Post-Shalamar, Watley moved to England, and while there she recorded a guest vocal with British Jamaican roots reggae group Musical Youth for their album Different Style. She also recorded with Gary Langan, Anne Dudley and J.J Jeczalik (who later became Art of Noise). She had a brief stint with Phonogram Records where two singles were released (in the UK, Europe & Australia – though crucially not America) under the moniker "Jody" (no second name), "Where the Boys Are" and "Girls Night Out". Also during this era, and after departing the group, she took part in Bob Geldof's Band Aid recording of "Do They Know It's Christmas", which included Bono, Boy George, Sting, George Michael, Phil Collins, Status Quo, Paul Weller, Bananarama and other prominent UK artists.

Solo career

Jody Watley (1987–88)

After two and a half years in England, Watley returned to America and secured a recording deal with MCA Records, eager to establish her own identity. Her album Jody Watley was released in March 1987, and she co-wrote six of the album's nine songs. In an interview with Rolling Stone Magazine, Watley would say that she wanted to showcase her voice against "really funky hard dance tracks." The album's lead single, "Looking for a New Love", became a hit and was certified gold. The album peaked at #10 on the US Billboard Top 200 Album Chart, number-one on the Billboard Hot R&B Albums Chart, and sold two million copies in the US, and a total of four million copies worldwide. It produced five uptempo dance and R&B singles that charted on the US Hot 100, with three peaking in the top ten: "Looking for a New Love" (US #2, #1 Dance, #1 R&B, UK #13); "Still a Thrill" (US #56, #3 R&B #1 Dance); "Don't You Want Me" (US #6 #1 Dance #3 R&B); "Some Kind of Lover" (US #10 #1 Dance #3 R&B); and "Most of All" (US #60, #11 R&B) Also included on her debut album Jody Watley was the duet with George Michael, "Learn To Say No", produced by Bernard Edwards.

At the 30th Annual Grammy Awards in 1988, Watley won the award for Best New Artist, and was nominated for Best Female R&B Vocal Performance. That same year, she also received nominations for four MTV Video Music Awards and three Soul Train Awards. After Shalamar she had two singles released under the name of 'Jody' without her second name even though adverts in UK Pop Magazine 'Smash Hits' [& elsewhere] mentioned that she was "Formerly of Shalamar". This 'technicality' [no second name] allowed her controversially to be considered a 'New Artist' at the Grammys, beating Breakfast Club, Cutting Crew,Terence Trent D'Arby, and Swing Out Sister. Shortly after winning the Grammy Award, Watley would be featured in Harper's Bazaar Magazine photographed by Francesco Scavullo.

Larger than Life (1989)

In the spring of 1989, Watley released her second album, Larger than Life, co-writing eleven of the album’s twelve songs. The album sold over four million copies worldwide, reaching #16 on the Billboard Top 200 Album Chart, and produced four singles: "Real Love" (US #2, #1 R&B, #2 Dance, UK #31), a US gold single and her first top 40 UK single since "Looking for a New Love"; "Friends" featuring Eric B. & Rakim, (US #9, #3 R&B, #7 Dance, UK #21); and "Everything" (US #4, #3 R&B), her first ballad release. The album's fourth and final single, "Precious Love", was a minor hit, peaking at #87 in the US. "Friends" is notable for being the first multi-format hit single to include the formula of a Pop/R&B singer featuring a guest rapper with the custom full 16-bar verses and bridge concept, and distinguishable from the rap "Intro" by Melle Mel on Chaka Khan's notable cover Prince single "I Feel For You". The successful "Friends" formula would become a mainstay formula in commercial pop music and was added as a category at The Grammy's under Grammy Award for Best Rap/Sung Collaboration in 2002.

During the summer of 1989, Watley’s "Real Love" video, directed by David Fincher, was nominated for seven MTV Video Music Awards including Breakthrough Video, Best Art Direction, Best Dance Video, and Best Female Video at the 1989 award show. That record was held until Michael Jackson and Janet Jackson's video "Scream" received 11 VMA nominations in 1995. The next year, she was nominated for two Soul Train Awards, an NAACP Image Award for Outstanding Female Artist, and a Narm Award for Best Selling R&B Female Album. While riding high on her Larger Than Life World Tour, a remix album, You Wanna Dance with Me?, was released in October 1989 and achieved gold status in America. 1989 also saw Watley featured in Harper’s Bazaar "Ten Most Beautiful Women" issue, photographed by Matthew Rolston. That same year Jody Watley appeared on the cover of the Japanese high fashion magazine SPUR for its debut issue. Jody Watley released the million selling "Dance To Fitness" a first for an African American woman and artist.

Affairs of the Heart (1991–92)

Watley would state that she was eager to change her musical range and image, and no longer wanted to be seen as just a dance diva. She was inspired toward a more introspective approach for ‘Affairs Of The Heart", wanting to address social concerns. In December 1991, Watley released her third album, Affairs of the Heart, described by Justin Kantor in Guide to Soul as an overlooked standout of her 1980s and 1990s output. The album peaked at #124 on the US chart, and #21 on the R&B/Hip-Hop Albums Chart.

The lead single, "I Want You," failed to crack the top 40, peaking at #61 on the Billboard Hot 100 chart, though peaking at #5 on the US R&B singles chart, and #17 Dance. The second single, "I'm The One You Need", reached #3 Dance and peaked at #19 on the US Hot 100. The final single was the ballad "It All Begins With You", her first single to miss the US Hot 100. Watley earned an invitation by President George H. W. Bush in 1992 to perform this song at the White House. Watley used the opportunity to encourage the government to provide more support and funding for public schools. Watley recorded "It's All There" for the movie "Switch" with legendary composer Henry Mancini.

Intimacy (1993–94)

Apparently undeterred by disappointing sales, Watley stated she was more concerned with broadening her creative boundaries than in having huge record sales. In November 1993, MCA released her fourth solo album, the introspective relationship themed Intimacy. Noting that the new jack swing was popular in R&B at the time, Amy Linden wrote in People Magazine that Intimacy continued the process of Watley’s move toward more refreshingly adult themes and that Watley was deserving of serious attention. Watley herself said that the songs she wrote were always personal statements.

Intimacy with its songs of "romance and angst" reached #164 on the US Top 200 Album Chart and #38 on the Top R&B/Hip-Hop Albums Chart. The first single was "Your Love Keeps Working On Me", barely scraped onto the Hot 100 at #100' and also peaked at #2 Dance and #26 R&B/Hip-Hop. Watley added video director to her resume for the next single, the spoken word tune "When a Man Loves a Woman". "When A Man Loves A Woman" reached #11 Hot R&B/Hip-Hop and US #8 Dance. Although not a pop hit in the US or UK as well, the BBG Remix of this song topped the Dance charts in the UK. The album also contained the song "Ecstasy", produced by David Morales, which became an underground hit and later appeared on her Greatest Hits collection. Like its predecessor, "Intimacy" would not be a strong seller, but would continue to give Watley better critical success.

Affection (1995)

Having parted ways with MCA Records, Watley took an independent path and started her own label, Avitone Records, and released her fifth solo album, Affection, in July 1995. The album was engineered and produced by the legendary Booker T. Jones and Angelo Earl. She aligned Avitone with the independent Bellmark Records for distribution. According to a review of the album "Affection" by Jose Promis of Allmusic, the release lacked the urgency and immediency of her dance-era hits, but was an engaging collection of slow burners, mid tempo and jazzy R&B. The album’s title track, "Affection", didn't crack the Hot 100 but became a moderate R&B hit, peaking at #28 on the Hot R&B/Hip-Hop Singles & Tracks chart

Greatest Hits (1996)

In 1996, Watley played Rizzo in the musical Grease on Broadway theater in New York City, the first African American woman to play the role. Watley was photographed by famous photographer, Victor Skrebneski, for the popular Saks Fifth Avenue Defining Style Fall Catalog, where she appeared in a 15 page high fashion layout. That fall, Watley appeared on the platinum-selling single "This Is For The Lover In You" by Babyface. The single also featured LL Cool J and Watley’s former Shalamar bandmates Howard Hewett and Jeffrey Daniel, essentially reforming the group for the single. It was a remake of Shalamar’s R&B hit "For The Lover In You". As the year wound to a close, Watley took a hiatus from her own Avitone label, and signed with Big Beat/Atlantic Records. The same year MCA Records released her Greatest Hits album with Watley’s recordings for MCA.

Flower (1997–98)

After spending most of 1997 in the recording studio crafting her sixth studio album, Flower, Watley was back in early 1998 with its lead singles "Off The Hook" and "If I'm Not In Love." "Off The Hook" peaked at #23 on the Billboard R&B Singles Chart and #73 Billboard Hot 100 but fared much better on Billboard’s Hot Dance Music/Club Play chart. Propelled by remixes from Masters At Work and Soul Solution(Dance act), the track reached #1 on the dance chart, making it her first #1 Hot Dance Music/Club Play hit in nine years. Later the same year, a single of "If I'm Not In Love" was released, with promo mixes by Sal Dano (credited as BK Dano), Lenny Bertoldo, and 95 North (Richard Payton and Doug Smith) and that song reached #2 on the Hot Dance Music/Club Play chart. Big Beat Records was absorbed into its parent label, Atlantic Records, which then shelved the album from a U.S. release, and left Watley in legal limbo for two years. Flower was, however, released in Canada, Great Britain, and Japan. The critically acclaimed release was championed by many UK magazines, including Blues and Soul and Echoes among others. A previously unreleased song featuring Watley with George Duke titled "Baby Love" was included as a bonus track on The Best of George Duke The Electra Years in 1997. "

The Saturday Night Experience (1999)

It was during the time she was unable to record, that Watley says she was inspired by 4Hero whose 1998 album Two Pages exposed her to the underground electronic dance music out side of the mainstream; she credits this inspiration for not retiring after the disappointment of how Flower was handled. The Saturday Night Experience Vol. 1, as Watley told music historian David Nathan.

In November 1999, Jody reactivated her independent label, Avitone, and released her seventh studio album via Universal Japan The Saturday Night Experience featuring Jody Watley Vol. 1, a collection of organic club music tracks, inspired by her newfound love of electronic music. It was released exclusively in Japan along with a single, "Another Chapter," with remixes by DJ Soma. Also included on the project was the drum and bass title song "Saturday Night Experience." As Watley told music historian David Nathan, "The Saturday Night Experience" was intended to be a concept album, aimed at people looking for something different. The Saturday Night Experience , as told to music historian David Nathan, Watley stated she had no desire to release the project in the U.S. The title song of the same name was licensed to Giant Step and included on their compilation "Giant Sessions, Volume 1 Mixed by Ron Trent". The following year, MCA released 20th Century Masters: The Millennium Collection: The Best of Jody Watley.

Midnight Lounge (2001–05)

In 2001, Jody released her eighth studio album, Midnight Lounge in Europe and Japan. In an interview with Billboard Magazine Watley would say, "An artist should always explore new frontiers." "Midnight Lounge" was a collection of tracks that combined a blend of soul, jazz, R&B, and electronic club music.

After achieving moderate success in its original release, Watley arranged for it to be released in the U.S. through her Avitone imprint in a short-term license deal with Shanachie Records on March 11, 2003. Midnight Lounge was Watley’s first studio album released in the U.S. in eight years, reaching Top 20 status on Billboard Top Electronic Albums chart. Roy Ayers appeared on the Masters At Work produced, "I Love to Love", Junior Vasquez and several other producers contributed remixes to the single release of "Whenever", bringing the track to #19 on the Billboard Hot Dance/Club Play Chart. One of the album’s other singles, "Photographs", became notable in the underground club scene with mixes by Phil Asher and East West Connection. The music and growth of Watley would achieve critical acclaim for the project and Watley, noting she had successfully updated her sound over the years and evolved successfully into a soulful chantese.

In 2005, Watley made history on the Billboard Hot Dance Music/Club Play Chart when she re-released her 1987 hit "Looking For a New Love." The 2005 remix reached #1 on the Billboard Dance/Club Play chart, making her the first artist ever to take the same song to #1 in two different decades. Jody Watley now has the distinction of being among the few artists who have been to #1 on Billboard’s Hot Dance Music/Club Play chart in all of the past three decades (the 1980s, 1990s, and 2000s). The same year, Watley was invited to participate in the Force of Nature Relief Concert to aid the victims of the 2004 Indian Ocean earthquake. During the trip Watley and others (including The Black Eyed Peas, Lauryn Hill, and Jackie Chan) were invited to the Royal Palace to meet The King and Queen of Malaysia for a special Tea reception in showing their gratitude for all involved with Force of Nature.

The Makeover (2006–14)

The Makeover would bring Watley together with 4Hero and King Britt among others in an electronic musical style. Understanding the shifting paradigms in the music industry and the changing business models, Watley’s Avitone Recordings arranged for The Makeover to be released exclusively to the Virgin Megastore chain in its first ever CD exclusive. It debuted at #1 for the retailer, and was accompanied by a Virgin mini-tour where she performed for customers and signed copies of the CD. The first single was a cover of Madonna's "Borderline". The single reached #2 on the Hot Dance Music/Club Play chart in January 2007. The second single, a cover of Chic's "I Want Your Love," reached #1 on the Hot Dance Music/Club Play in June 2007.

In 2007, Watley was listed as #5 in the Year End Billboard Dance Play Artists. Her single "I Want Your Love" was #15 and "Borderline" #19 according to Billboard Year End Chart Review for 2007. In January 2008, "I Want Your Love" topped the U.K. Dance Charts in January, giving her first U.K. mainstream dance hit in two decades. In 2008, she launched an online music store, while scoring another Top Five Billboard Dance Single, "A Beautiful Life," bringing the total of Top Five Singles for The Makeover to three. In May 2008, continuing over a decade of support for various charities dedicated to raising funds and awareness for HIV and AIDS, Watley performed at Life Ball, Europe's largest gala for the cause held in Vienna, Austria. In May 2009, Watley’s Avitone signed a distribution deal with London-based Alternative Distribution Alliance Global.

In October 2009, an "International" version of "The Makeover' was released in the U.K. to positive reviews. Pete Lewis from Blues & Soul noted her evolution as an artist and performer as being showcased on the album. Further stating Watley being hailed by some, as exemplifying the 21st century recording artist continuing to exercise her own creative path. Distinguishable from the original release, The Makeover "International Edition" featured new cover art and track listing. New inclusions featured the bossa-soul rendering of Bob Marley’s "Waiting in Vain", a sparsely arranged version of Carole King's 1960s ballad "Will You Still Love Me Tomorrow", Erasure's anthem "A Little Respect", and a reworking of the Diana Ross dance classic "Love Hangover". Replacing the downtempo ambient version found on the 2006 "The Makeover", Watley recorded the new arrangement originally suggested by songwriter Pam Sawyer, for Ross. Reg Dancy from Basic Soul would write that Watley was able to handpick songs and make them seem as if they had been written for her. Added to the line-up of producers which included King Britt, Mark de-Clive Lowe, 4Hero, DJ Spinna, and longtime co-collaborator Rodney Lee, are remixer/producers Marco Zappala from Brazil and Craig C. from the UK.

In February 2010 Jody Watley joined Jamie Foxx onstage at a post Grammy event for a duet performance of her signature hit "Looking For a New Love" and also appeared in the VH1 documentary "Soul Train: The Hippest Trip In America". On October 27, 2012, Watley starred in the one time international humanitarian musical event Loving the Silent Tears with performers from 16 countries and cultures, created by Al Kasha directed by Vincent Paterson and choreographed by Bonnie Story at The Shrine Auditorium in Los Angeles

Jody Watley recorded collaborations with the electro pop duo French Horn Rebellion on singles titled "Cold Enough" and "Dancing Out" also featuring Young Empires in December 2012 and June 2013. Watley added high-profile summer concerts including Grammy All-Stars in Chengdu, China at Chengdu Sports Centre and Essence Music Festival in July 2013.

Jody Watley released a new single "Nightlife", in 2013. The song, which marked a return to disco dance, was a Top 5 British Urban Single, Top 10 Commercial Pop Single Music Week and Billboard Hot Dance Club Play Top 20 Single in 2014.

Music and Fashion

In 1990, Watley would continue to be involved with fashion. On her second album, she was photographed by fashion photographer Steven Meisel, where she continued to make her own style statements. In the videos for "Real Love", Watley would introduce a higher fashion aesthetic blending vintage and custom designs. "Friends" mixed couture by Jean-Paul Gaultier, with an urban sensibility. She released a million-selling home video, Dance To Fitness. She was featured in the first celebrity ad campaign for Gap LA Eyeworks and in magazines such as Harper’s Bazaar, Vogue, Vogue Italia, Rolling Stone, Essence, and Vanity Fair. She was named one of the 50 Most Beautiful People of 1990 in People Magazine.

In the same year, she contributed a jazzy rendition of "After You, Who?" the compilation album "Red Hot + Blue", an AIDS-awareness charity recording of songs by Cole Porter produced by the Red Hot Organization. Watley was photographed by famous photographer, Victor Skrebneski, for the popular Saks Fifth Avenue Defining Style Fall Catalog, where she appeared in a 15 page high fashion layout in 1996. In 2006, Watley would walk the runway with designer Kevan Hall for LA Fashion Week. She is also noted as an influence on contemporary designer Malan Breton.

Paradise and Shalamar Reloaded

On July 28, 2014, the EP "Paradise" was released through Watley's longtime Avitone label, digital outlets, and limited edition CD exclusively through her official website the EP contains the single "Nightlife", along with 5 new songs and collaborations with Mark de Clive Lowe, string arranger and musician Miguel Atwood Ferguson and newcomers Count de Money (France), Luminodisco ( Italy) and Soulpersona (UK) Jody Watley collaborated with music new jack pop duo French Horn Rebellion.

Also in 2014, Watley, a well documented original member of Shalamar became the legal registered owner though not without challenge Watley would state that the term "Reloaded" was to make sure the public knew this was not a reunion with past members and that she found the challenge exciting to rebrand the group bringing it to a new generation while finally finding a way to bring both catalogues together for a dynamic concert experience. Watley launched a new online boutique devoted to Shalamar merchandise in tandem with her own longstanding Jody Watley Boutique founded in 1999 A string of new American Tour Dates in support of Paradise and introducing the newly reloaded Shalamar included, Oakland, Philadelphia, New York, Chicago, San Jose, Washington D.C. Sacramento, Atlantic City and more. media blitz to introduce the members that included television in major markets and concerts expanding in and outside of the United States and included Brazil, The Netherlands and the UK. The reloaded version of the group features renowned choreographer Rosero McCoy and newcomer Nate Allen Smith an Ohio native singer, dancer, choreographer The reloaded Shalamar released a promotional single titled "SlowDance" on July 17, 2015 through Watley's Avitone label. The single was subsequently picked up by independent label Spectra Music Group and released on October 20, 2015 along with a new video directed by Damien Sandoval. Jody Watley and the new trademarked Shalamar was also featured in a SIRIUSXM Special "In The Groove with B.K Kirkland which aired in July of 2015. The new Shalamar trio with Nate Smith and Rosero McCoy also made television appearances on Chicago's WGN Morning News debut performance and KTLA Morning New with Sam Rubin It was also announced that the ever eclectic Watley would be a guest vocalist on highly acclaimed funkster Dam-Funk's second album "Invite The Light" via Rolling Stone Magazine Jody Watley and the new Shalamar continue to add touring dates in the United States. They have also had festival appearances in the United Kingdom including Let's Rock London. Jody has also taken to Shalamar Reloaded to Japan, Brazil and Netherlands and added them to Superfreestyle arena dates in America as of 2015 and 2016 announcements. In 2016, Watley made the choice to redirect her efforts to the now formed Shalamar Reloaded, wanting a fresh start for her new group without the negativity and baggage. Shalamar Reloaded continue a quest to build a new base releasing their second single and video "O.R.I.G.IN.A.L" in May 2016 and continued adding a series of critically well received concerts.

Personal life and family

Watley has two children: a daughter Lauren with former fiancee music producer Leon Sylvers III and a son Arie with ex-husband Andre Cymone. She is the goddaughter of music legend Jackie Wilson and the younger sister of tour manager John Watley Jr.

Discography

Jody Watley (1987)

Larger Than Life (1989)

Affairs of the Heart (1991)

Intimacy (1993)

Affection (1995)

Flower (1998)

The Saturday Night Experience (1999)

Midnight Lounge (2001)

The Makeover (2006)

Paradise EP (2014)

Tours

Larger Than Life Tour (1989)

The Intimate Tour (1993)

Colors of Christmas (2002)

Superfreestyle Freestyle Explosion (2015/2016)

Various Tours ongoing

Wikipedia

#Jody Watley

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g0atmama · 6 years ago

Text

so earlier I mentioned that if I remembered I’d make a thing about the info for my self insert, so. yeah here’s that. And about her stand. Cut for length because oof

In Phantom Blood, her name is Irene McDermott. She lives on a sizable goat farm and delivers milk to the Joestar manor weekly. Irene sees Dio as a major source of happiness in her life as their relationship grows because of the problems she has at home that she feels she can’t escape from. She’s the youngest of five but one of the only one of the kids that actually does any work.

Regarding the events of Phantom Blood, she’s at the manor the night Dio becomes a vampire and ends up getting a severe burn on the small of her back. That scar remains and is extremely visible even a hundred years later when she’s Michelle. She became a vampire bit long before Jonathan and Dio had their battle before Wang Chan removed his head.

Over the course of the next hundred years, she learned and adapted to her new powers at her own pace, which was slow. She was slow to learn and master each power before trying to master another. She wanted to be able to control them so she wouldn’t lose control and get killed by people finding out what she is. At one point, she couldn’t handle being Irene anymore. She decided she wanted to be someone else, someone unconnected from Irene. She became Michelle Brando, taking Dio’s last name despite the fact that they never actually got married. That didn’t really matter anymore anyway.

Come SDC, she’s only getting a stand a little before Star Platinum manifests in Jotaro. Her stand, though, is Mummer’s Dance. It’s a support stand with abilities that stem from altering the frequency of the infrasound it’s able to control. Primarily Michelle uses it to support those around her but given that it uses infrasound, it’s highly dangerous to everyone around her, whether they can hear or not.

Mummer’s Dance’s primary ability is to weaken or enhance the abilities of other stands, hence it being primarily a support stand. If Michelle is alone fasting a group, however, she might enhance the abilities of one stand, and use a secondary ability on it that causes it to obey but disobey the user, it does attack but not in the right direction, often hitting allies instead of foes. That ability is easily counteracted if you just figure out how to make your stand do the way you want it to. The final ability, technically speaking, would be just a blast of infrasound that’s loud and low enough to make your heart explode in your chest. But, given how dangerous that is, Mummer’s Dance is unable to get loud enough for that. It can get low enough so you might feel chest pain in a battle, but it can’t reach that volume. Because otherwise, this stand would be horribly OP.

Michelle has a lot of different timelines. I use these timelines to explore different personalities for her or just different outcomes for SDC. They are as follows, skipping the Canon timeline and the one that’s for my fan part.

- Fear and Comfort. Tbh I'm thinking of renaming this timeline, but basically what's different here is that she was not at the Joestar manor the night Dio turned into a vampire. She is still a vampire, but also she's terrified of him. She found comfort in Vanilla Ice, therefor Vanielle is the primary ship for this timeline.

- 8-Bit Heart. Something just made Michelle and DIO kind of ... drift apart. She's started growing fond of the butler, though. The ship for this timeline is Telle

- Alester Brando. Irene and Dio were married before everything went wrong. They had a son, whom this timeline is named after. He's become a vampire and his stand is called Black Gold. It's a purely defensive suit stand.

- Gio Mom. I often combine this timeline with the one above, but in this timeline, Giorno is Michelle's son. He was born a little earlier than he actually was, being about four when Dio died. His canon backstory is intact for this timeline, because he was kidnapped while Michelle took her hand off him to get plane tickets to Italy. This is really a Vento Aureo timeline for Michelle.

- Black Gold Experience. Take the two above timelines, combine them, and shove Michelle at the Speedwagon Foundation. Alester was in charge of protecting Giorno after their father's death and their mother being taken by the Foundation for the study into vampires. This timeline is used to explore their relationship and puts Alester into Vento Aureo and has his stand being used to protect Trish.

- The Moon Rises. Michelle achieves heaven in this timeline. Because Dio never actually cared about her, she was just a means to an end. A way to prevent Jonathan from hurting him, someone to be at his side. She let her emotions get the better of her and she attacked him. And killed him.

- Deep Deep Blue. So you know how the coffin had two compartments? Yeah, that was intended for Irene and Dio to be in there together but not right on top of each other. Erina messed that up, so they were trapped in the bottom of the ocean together. Michelle decided to be called Michelle while they were under the water together so Dio doesn't forget as often.

- A Dance in Time. Stands are already a thing by the time Dio comes back. I alter it a little bit because I want to, shush. So Michelle already has Mummer's Dance and understands her stand's abilities a lot more by the time Dio arrives. She approaches him with the stand arrow pretty quickly after he's returned, and The World's time stop also lasts longer.

- Roleswap. This timeline is hard to explain but the basic thing is that Irene is now Dio and Dio is now Irene. Their backstories and roles in the story switch, as well as their stands later on. Specific details are changed a bit, like it's the Pendleton family not the Joestar family. This timeline is shared with my friends and their OCs too.

- These Chains. Irene's family moved back to the US when she was young, tearing her and Dio apart forever. A century later, her great great grandson is in service to Dio. Dio only realizes it when he sees that the man has the locket he gave Michelle 100 years ago.

Now that that's done, I guess the last thing to do is mention her ships.

Irene is shipped with Dio as Diorene

Michelle is shipped with Dio as Diochelle, Vanilla Ice as Vanielle, and Telence T. D'Arby as Telle.

Fun Facts

- I tend to refer to Dio as the sun to Michelle’s moon. I like giving him a sun motif and her a moon.

- Michelle and Dio have one more child, a daughter named Ariel Brando. Her stand is basically King Crimson but in reverse, she moves everything backwards in time and is the only one who remembers what happened.

- In the Gio Mom timeline, Michelle doesn’t really care about the rest of the team. Protecting Giorno is the most important thing to her because he’s the last piece of Dio she has. She is proud of her son either way.

- Mummer’s Dance is actually horrifying if you know what infrasound does. I didn’t even mention above the effects of it getting low enough to make your heart vibrate. It can cause hallucinations and make you feel scared for no reason. You wouldn’t even know what’s going on if you can’t hear it, which you usually can’t.

- Michelle is bi and has asked Dio to let her join in while he’s fucking other women. He’s let her.

- Michelle loves Dio above all else in most of the timelines unless otherwise stated. Even in The Moon Rises, she was in love with him. She just lost control of her anger and grief over dedicating over a century to someone who didn’t care about her.

- Black Gold’s ability is adaptability. It adapts to the last stand power to effect it and protects Alester, and anyone he’s touching, from that ability. It can’t protect from more than one ability at a time, and the protection only lasts for 30 seconds between uses of the enemy ability. Most of the time he’s holding Trish and Giorno nearby to protect them since he can’t leave Coco Jumbo’s room.

- Alester loves Trish like he loves Giorno. She reminds him of Giorno when he was young and didn’t understand why they couldn’t go get their mom.

I do have character forms for both Irene and Michelle if you’d like to read something that’s a little better sorted and actually talks about her in a more informative manner. These links go offsite.

Anyway, thanks for getting this far. (Irene’s backstory is based on my life but there are some liberties taken to sort of help it fit better within the series.)

#Michelle Brown #Oasis's OCs #jjba oc #self insert

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