#jim fairchild

[spilladabalia]

Grandaddy - Long as I'm Not the One

[sinceileftyoublog]

Small Isles Interview: A Blurry Ecosystem

Photo by Dustin Aksland

BY JORDAN MAINZER

Sometimes, dreaming big pays off--literally, in Jim Fairchild's case. The former Modest Mouse and current Grandaddy lead guitarist and now prolific film composer has been releasing music with collaborator Jacob Snider over the last few years under the moniker Small Isles. The project's debut LP, The Valley, The Mountains, The Sea, was a score to something that didn't tangibly exist: an imagined Rick Moody-written sequel to The Ice Storm adapted into a film by Ang Lee. When I spoke with Fairchild and Snider in 2021, they mentioned collaborating with string player Sienna Peck on an upcoming EP. What I couldn't have foreseen was Fairchild's ultimate endgame: for his imaginary film scoring and real film scoring to develop a symbiotic relationship.

That is, at this point, Fairchild is able to use what I called "filmless music" as a starting point. He'll imagine a film, score it, see where it takes him, and either scrap it, use it for the Small Isles record he's currently working on, or even use it for the real film score he was hired to do. Other times, his professional film scoring will yield sounds that are appropriate for the heady universes he's conjured with Small Isles. Last year, Small Isles released two EPs. The first, which was the Peck collaboration the duo spoke to me about a few years back, was Out in The Sunset, a score to an imagined follow-up to Joe Talbot's The Last Black Man in San Francisco. And the latest, Everything on Memory (Modern Recordings/BMG), released last month, was truly wild. Fairchild dreamed that Donald and Stephen Glover--the creative team behind the TV show Atlanta--wrote a movie in response to Modest Mouse's classic The Moon & Antarctica track "3rd Planet", directed by none other than Christopher Nolan.

As neither Fairchild's dreams nor his creations are hyper specific, the finished Small Isles products often resemble their inspirations more in vibes than anything else. Such is the case with Everything on Memory, a sonic collage of guitars, synthesizers, strings, and wordless vocals. Some songs, like "This Much I Know" and "The Rest is History", sound like your schema of what a film score is, juxtaposing plucky guitars with dramatic, sweeping strings, and in the case of the latter, solemn-sounding piano. Others are more experimental, like the pulsations of "Sure I'm Happy", the bubbly bass thuds of "Dewdrop Daybreak", and the rounded bass and sinewy synths of "Unfulfilled Potential". The EP, and Small Isles songs in general, however, reflect their increasingly hyper-specific touchpoints by juxtaposing moments small and big, giving them equal emotional weight and importance. Last month, I spoke with Fairchild over the phone about Small Isles to date, including Everything on Memory, the project's first live show at Hotel Cafe in November, the formative nature of Modest Mouse, and Terrence Malick. Read our conversation below, edited for length and clarity.

Since I Left You: All Small Isles material so far is scores to imaginary movies. At the same time, you've done actual film scores. Do you take what you learn from film scoring and apply it to these imaginary works?

Jim Fairchild: I've been into film scores since I was a teenager. I scored my first film when I was 17 or 18. It was a student film. Jason [Lytle] from Grandaddy brought over his 4-track, and we assembled a bunch of music one day, and it ended up being a score for his student film. I did a bunch of work in the early 2010s as we were writing Modest Mouse's Strangers To Ourselves. I really had a taste for it. I loved doing it. Once our son was coming along, I set a challenge for myself to figure out how that could become the majority of my music-making life. One way to do it would be to imagine a movie you want to score. The first Small Isles record was me imagining Rick Moody had written a shadow/companion piece to The Ice Storm, which Ang Lee directed. I imagined it taking place in early 2020s California. I started picturing what that would look like.

With the Out in The Sunset EP, I was scoring a follow up to The Last Black Man in San Francisco. I imagined the same team who made that, making this movie about kids from different backgrounds in San Francisco realizing they had more similarities than what societies would suggest to them. The objective was always, "I'm going to start sending this music to directors, and they'd hopefully see this music could accompany visual mediums, and maybe I'd get hired." It worked.

How do those two relate to each other? I have a lot more siloed approaches to music. I could see how Modest Mouse bled into the stuff I was making for TV in the early 2010s, but it was fragmented. But making the Small Isles stuff, I'll start assembling samples and think, "That could be really handy for this type of mood." And as I'm scoring things, I'll think, "That's a great sound that could appear on Small Isles tracks." I want it to be an ecosystem where the lines get blurry. Where do the roots of the tree stop and become another tree? As much as a gift as it is to be in a band like Modest Mouse, it starts to have less to do with making music. I want to make music, to be in the studio investigating that process as much as possible.

SILY: At the time we talked about your debut album, I didn't fully realize subsequent Small Isles material would follow the same idea. Now, with Everything on Memory, you're scoring a film you dreamed up, a Donald and Stephen Glover-written film, directed by Christopher Nolan, in response to Modest Mouse's "3rd Planet", a song from before you even joined Modest Mouse!

JF: Dreams are absurd, right?

SILY: Right! How vivid was this dream?

JF: There was a lot of the movie in the dream. It's gone now. All of this is impressionistic. I have two albums that I'm going to make next year sort of "dreamed up." I don't know where they came from. I have them outlined.

In the dream, it was pretty real. Donald and Stephen Glover were giving DVD commentary, and maybe [Modest Mouse lead singer] Isaac [Brock] was also weighing in. [laughs] I don't remember much of it, but I remember these small, intimate moments that felt Terrence Malick-like, but also these massive celestial moments that dealt with the bigger shit Isaac is talking about in that song.

SILY: "3rd Planet" is a world-building, impressionistic song, the type that makes a teenager have an existential crisis. I was a teenager when I first heard it, and I remember the lyrics blowing my mind.

JF: It still does, dude! I was talking about that song with a friend who is making a video for this EP. I've played that song, I don't know, certainly no fewer than 300 times live, and I was still getting choked up at the enormity of it. He's written many great lyrics, but that one is like, "What the fuck?!?" It's truly existentially magnificent.

SILY: I remember seeing some of the lines scrawled out on a paper-covered wall in my college dorm, just being like, "What the fuck?" A lot of millennials probably have that sort of relationship with that song. I want to ask, though, what has been your relationship with the work of the Glovers and Nolan?

JF: I don't really know Christopher Nolan's work that well. I'm more familiar with the Glovers, particularly those first two seasons of Atlanta. Shortly before our son was born was when those seasons came out. My wife and I were watching it, and I was thinking, "I guess this is the best TV show ever made." A big part of all of this is the suspension of disbelief. Life is fucking surreal. And a lot of times, when you ingest surreal media, whether movies or music, it's constantly reminding you how surreal it is. The thing about Atlanta I loved so much is that it was fucking crazy but not constantly raising its hand saying, "Look how crazy we're being!" You get dropped into these moments that are totally fucking surreal.

Where Nolan came into play is his willingness to collapse the conventional constructs of time. There's a relationship between the way I think about Atlanta and his movies. The bigness thing, too. As I get older, this contributes to the way I think about music and make it. I'm an older dude with a young kid, and now I realize those big moments are real. Getting a #1 song is a tremendous accomplishment, and you should soak those moments up. But the moments where you're holding your kid's hand walking down the street are as big. The collapse of relative scale. I realize how lucky I am to have made it this far at all, to be alive still. A lot of our friends and contemporaries didn't. I really appreciate that. I want to bask in that. It sounds so dumb coming out of my mouth, but life is beautiful. Once you start realizing that all moments can be fairly profound and great--even the bad stuff--the flimsy nature of the relativism of time creeps in.

SILY: You've already mentioned Malick, and I feel like you just described The Tree of Life to a tee, small moments having the same ripple effects as the creation of the universe. On the surface, it might seem absurd, but it's very real even if technically different in scale. Is there anywhere specific where any of these touchpoints, from Modest Mouse to cinema, manifest on Everything on Memory? Or is it more a general vibe?

JF: The way Small Isles works is with the illumination of narrative, to get away from lyric and conventional song structure, even though these aren't crazy song structures. It's meant to capture vibe. The first thing that happens in "Sure I'm Happy", I start going [plays a whistle melody] on this keyboard right here, then I put it in a guitar amp. What settings did I use? It's probably something like [plays synthesizer]. So I have the whistle. I put that down. The whole song is two chords. That's the vibe. You just start chasing it. It somehow fit within the movie I was picturing. From there, you're asking, "What else is happening with this world?" And then you get a little chord sequence. That's the most fun thing about making this music and scoring, to me. At this point in my life, I kind of want music to be a job, and that job is solving a riddle. There's an answer to this question. It might not be the only answer, but there is one. How do I flesh this vibe out? You just start going down these paths.

SILY: What were you just playing?

JF: It's this old Yamaha keyboard I got for The Sophtware Slump. I got it at Circuit City for $300. I use it all the time.

SILY: Did you use it on this record?

JF: There's some of that, tons of soft synths, tons of guitars. I really love using sounds incorrectly: pulling up soft synths and reversing them, or going in and making them something they're not intended to be. I'm far from the only person who does that--tons of people do that, but I love that interrogation of sound. Sometimes, you know you're within spitting distance of what you want, so you re- or deconstruct it to make it unique to a piece of music, to match to what the aesthetic is.

SILY: Tell me about the core group of players you've been working with.

JF: First, there's my collaborator Jacob Snider. [String player] Sienna Peck, who was on all of Out in The Sunset, plays on one song on Everything on Memory. I had never met Sienna in person until we played this show last month. She played a lot of stuff on the Common Ground score. Laura Andrade played the rest of the strings. My friend Keith Karman, who came into Modest Mouse on the last tour and is now kind of in the band, played bass on a song. Mike Cresswell, my collaborator forever, mixed and mastered it.

SILY: How did you come to work with Temme Scott?

JF: I had this project called Grace Meridian, the last song-focused thing I did on my own. Taylor [Broom, the real name of Temme Scott] and I sing everything simultaneously. I was really into this idea of trying to eliminate the gender perspective. I thought a way to do that would be a man and a woman's voice always singing the same damn thing. We made this EP called Clover to Clover, and I love singing with her. She also sang live and assembled a choir when we did the [Small Isles] show last month.

SILY: What about the engineering?

JF: I engineered tons of it. Jacob engineered tons of it. Andy Petr did some stuff at the last minute. He's someone I want to do more stuff with. I love what he does.

SILY: It seems like there's generally a lot of contrast on the record--for instance, on "People Come Down", the sharpness of the synthesizers with the fluttery strings. Can you talk about the role of contrast throughout the whole EP?

JF: When you say that, the first thing that comes to mind is Atlanta. My intention is not to make outside music. Rather, it's interrogating this general concept of how much can we fit inside that I wouldn't ordinarily turn to. Can a contrasting element be intubated into this composition in a way that's somehow beneficial? It doesn't have to be always harmonious, but beneficial to the vibe. It took a long time to get the horns to exist as a contrasting element in "People Come Down", in a way that felt like it flowed to me.

SILY: When I last spoke with you, you were planning a Small Isles show, or at least thinking about it. You finally played the first Small Isles show last month, as you mention. How did it go?

JF: It was super scary. I had never done anything like that. I knew I needed to get myself the actual challenge to do it, not a hypothetical looming in the distance. So I booked a show. I hit up Sienna and asked, "Can we do this? Can you put together a string section?" She took care of so much. I sent her all of the isolated parts, she recruited SUUVI, this incredible cellist, and they played a lot of double stop stuff. She contracted this copyist to do sheet music. Taylor assembled a choir. I asked her whether she knew any piano players, and she recommended Debbie Neigher, who was amazing. There was no money or rehearsal space or practice space. It's so much different than playing a rock and roll show. With Modest Mouse or Grandaddy, you practice a lot. You get familiar with the material. This band, doors were at 7:30, and there were 10 people on stage, and nobody played a note of music until 6. It was the first time I heard this ensemble make sound together. They just knew how to do it.

Joel Graves and Matt Costa, both of whom I've known for a long time, played guitar, so I felt comfortable. But a lot of these people I never met until that night. The show wound up being really good. It's totally all bound to them. They came in and knew the stuff. They seemed excited about doing it together and potentially excited to do more.

For "The Rest is History", the final song on Everything on Memory, I had to have sub-tracks there, because we didn't have a drummer. I had these Pro Tools sessions I had made. It was a crazy amount of work. We worked for weeks. Part of it was in 3/4, and there was this piano melody in 5/4 against the 4/4 of the song. I played it one time and had to go through and adjust everything in MIDI to make it make sense for the rest of the ensemble. I played it on loop because I thought there was no way anybody could possibly play it. During practice, we started to play it, and Debbie says, "Hey Jim, I can play that part. I learned it!" I was super apprehensive. In my head, I thought, "There's no way she can play this." It was me geeking out for a day in a half to construct a piano part. And she fucking nailed it! It made me certainly happy and expanded my concept of scoring these imaginary movies. There's so many places to go from here. I've been doing this for so long now that in the worst moments, you think, "What am I gonna do now?" But you haven't cracked open even a fraction of what you can do musically.

I didn't really get to talk to any of Taylor's choir. I had this crazy intense experience with these people musically and then said, "Thanks guys, later!"

SILY: Where do you go from here?

JF: I want to play more shows. Matt Costa recorded the show, so we're looking to send it to some booking agents. I hope people didn't tell me it was good just because they were my friends. A lot of folks seemed really taken by it. It was a unique show, with rock instrumentation but a choir and strings. As I'm working on some additional film scores right now, I have the kernels some imaginary scores. One is a summer movie, and one is a December sort of release. I have them in my head, so I'm starting to make the music for those. I want to get the team assembled for what those will hopefully become, and record them so they're done by the time spring rolls around.

SILY: I'm glad to hear you finally played live. That's where "music as problem solving" usually comes into play, but it seems like your show was the more seamless endeavor than your studio recording!

JF: It was, all down to them. They just fucking knew it. We played three songs from Out in The Sunset and five from Everything on Memory, and we only sound-checked each once. [laughs] It gave me a lot of optimism. I have this idea in my head that there's a lot of places to go musically, and sometimes you're just telling yourself that as an aspiration, but it turns out it's actually true. It's amazing.

[balu8]

Jim Lee: Fairchild

[comicarthistory]

Page from Gen 13/Fantastic Four GN. 2001. Art by Kevin Maguire.

[savage-kult-of-gorthaur]

"AT THE MOMENT, I'M STARING DOWN THE BARRELS OF FOUR HIGH-TECH RIFLES."

PIC INFO: Spotlight on a splash page of Caitlin Fairchild, artwork from "Gen 13" Vol. 1 #4 ("Free for All"). May, 1994. Image Comics.

STORY/SCRIPT: Brandon Choi, Jim Lee, & J. Scott Campbell.

ARTWORK: J. Scott Campbell

INKERS: Alex Garner, Sandra Hope

COLORS: Wendy Broome, Wildstorm FX

LETTERS: Richard Starkings, Comicraft

Source: https://peakd.com/comics/@modernzorker/michael-s-long-box-the-great-gen12-re-read-part-4-gen13-4-may-1994-image-comics.

[ungoliantschilde]

“The Mother of All Jams”

“Here is the mother of all Jams!! Two years in the making for me after Wizard gave up,lol. Wizard wanted to do a special anniversary piece for the magazine so they got George Perez to do the layouts on most and then sent the piece all over the world to get all the star artists to do their key characters they were most associated with. The project kept getting held up and it was just too much trouble to get it completed. There are almost 150 characters in this mammoth Jam Poster Illustration.I love how the whole piece has direction. All the characters are either moving right on their respective side,left, or right in front of ya.

We have here..

Full figure pencil and inks of Spawn and Spiderman by Todd Mcfarlane. There is no other piece to my knowledge that has spidey and spawn hand drawn by Todd on the same board. They have a combined image of 11x11in with that incredible spaghetti webbing.

Alex Ross- Superman

Travis Charest- Grifter

Jim Lee/Scott Williams- Batman

George Perez-Wonder woman, Starfire, Scarlet Witch, Beast, and the Thing

Erik Larsen-Savage Dragon

Danger Girl, Fairchild, Grunge, Roxie, Burnout, and Rainmaker are all by J. Scott Campbell

Then I had David Finch do everyone else over George Perez's layouts.It is huge, 23X39in

David Finch is one of my favorite artists out there today and it was an honor to have him finish this incredible piece of history. Parts of it were published in a 1990's Wizard Magazine.”

[thetruecthulhu9]

@imgonnagetkilledbynutstink accidentally inspired me to assign the 6 idiots as fancast TMA characters. Bare in mind this is whoever I think matches best, not the ideal fancast

Mathew Baynton - Danny stoker

Jim Howick - Jared hopworth

Simon farnaby - Simon fairchild

Martha Howe-Douglas - not!sasha

Laurence rickard - Raymond fielding

Ben willbond - Peter lukas

[satrryeys4eva]

Who I write for (hey guys, this is demigirl-with-problems! Same blog, just changed my name and theme)

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Alice in borderland

Chishiya

Ann

Arisu

Niragi

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Gotham

Bruce

Oswald

Jerome

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Umbrella academy

Klaus

Diego

Five

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The vampire diaries

Damon

Kai

Jeremy

Elijah

Silas

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Lord of the rings

Thranduil

Kili

Farmir

Merry

Isildur

Arondir

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Ahs

Michael Langdon

Xavier Plymton

Valiant Thor

Kyle Spencer

Kai Anderson

James Patrick March

Dandy Mott

Dr Oliver Thderson

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Bates motel

Norman Bates

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Jennifer's body

Collin Gray

Jennifer Check

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Heathers

J.D

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

We need to talk about Kevin

Kevin (ooc)

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

The Craft

Nancy Downs

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

The Turning

Miles Fairchild

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

The Walking Dead

Carl Grimes

Daryl Dixon

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Twilight

Alec Volutri (movie)

Caius Volutri

Garrett

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Marvel

Tony Stark

Thor

Tasm Harry Osborne

Druig

Kingo

John Walker

Adam Warlock

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X-Men

Alex summers

Kurt Wagner

Warren iii Worthington

Peter maximoff

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Star trek aos

Jim Kirk

Spock

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Ouat

Peter pan

Felix

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

The chilling adventures of Sabrina

Ambrose

Theo

Robin

Claban

Harvey

Nick

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Riverdale

Jughead

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Bohemian Rhapsody

Roger Taylor

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Game of thrones

Viserys iii Targaryen

Bran Stark

Robin Arryn

Joffrey Baratheon

Ramsay Bolton

Tommen Baratheon

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

House of the dragon

Aegon ii

Jacaerys

Criston Cole

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Reing

Charles Valois

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Star wars

Luke Skywalker

Obi wan kenobi

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

The chronicles of Narnia

Edmund

Peter

Caspian

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Miss peregrine's home for peculiar children (movie)

Jake

Enoch O'Connor

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

The Goldfinch

Boris pavlikovsky

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

IT

Henry Bowers

Victor criss

Beverly Marsh

Stan Uris

Mike Hanlon

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Mha

Shigaraki

Denki

Tenya Ida

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Attack on Titan

Armin

Erwin

Eren

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Cobra kai

Miguel Diaz

Hawk/Eli

Robbie

Anthony

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

The Outerbanks

JJ Maybank

Rafe Cameron

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

The Breakfast Club

John Bender

Allison Reynolds

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Scream the series

Audrey jensen

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Percy Jackson/Heroes of Olympus

Leo

Percy

Nico

Jason

Thalia

Reyna

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Shadow and bone (books and show)

The Darkling

Nikolai lastlov

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Six of Crows (books and show)

Kaz

Jesper

Wylan

Nina

Inej

Mathias

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Pushing Daisies

Ned the piemaker

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Bridergton

Benedict

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Anne with an e

Gilbert

Jerry

Billy(ooc)

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Metal lords

Hunter

Kevin

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Stranger things

Billy

Jason

Johnathan

Robin

Tommy

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

The Black Phone

Vance

Robin

Bruce

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Wednesday

Kent

Rowan

Ajax

Wednesday Addams

Xavier(maybe?not really sure)

Binaca

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Peaky Blinders

Tommy Shelby

Michael gray

John Shelby

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

DC

Johnathan crane (dark knight)

Lex Luthor (Batman vs Superman: dawn of justice)

Male Harley Quinn

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

The Boys

Homelander

The Deep

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Harry Potter

Harry

Cedric

Newt

Credence

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Disney channel

Ben Florian(descendants)

Carlos De Vil(descendants)

Wyatt Lykensen(Z.O.M.B.I.E.S)

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

13 reasons why

Clay Jensen

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Books

Tamlin(acotar)

Cradan (the folk of the Ari)

Locke (the folk of the air)

Baleskin(the folk of the air)

Nikolav(shadow and bone)

Lord robine(folk of the air)

Eddie Roundtree (Daisy Jones and The Six)

Karen Sirko (Daisy Jones and The Six)

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

The school of good and evil(movie)

Hort

Sophie

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Celebritys

Xolo Maridueña

Finn wolfhard

Jaeden matrell

Timothee chalamet

Ross Lynch

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

You

Joe

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Gossip girl

Chuck

Dan

Nate

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

The Outsiders

Ponyboy

Johnny

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Gladiator

Cosmodus

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Hemlock grove

Peter Rumanick

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

The Dirt

Nikki Sixx

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Wayne

Wayne Mccullough

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Bullet train

The Son

Ladybug

The prince

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Interview with a vampire(movie and show)

Lestat de lioncourt

Louis de pointe du lac

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Avatar*

Jake Sully

Spider

Lo'ak

Neteyam

Trudy

Tsu'tey

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Ragnarok

Laurits

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Young Royals

Prince Wilhelm

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

One Piece LA

Sanji

Buggy

Luffy

Koby

Zoro

Mihawk

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

Rules

I will not write

Pedophillea

Rape

Insest

{ unless its is a situation in which the reader opens up to a charterer about experiencing it or one of the charterers finds out about it even so I will not discribe it}

Reader who practices any particular religion { I am not educated enough on this subject } 

naive/innocent/weak reader { I’m kinda sick of it }

reader with a given name , hair color , eye color { I write X Reader not X OC}

Smut { I will write NSFW stuff like headcanons but not full blown smut as of yet}

I will write 

Yandere characters

a/b/o only beta or fem!alpha reader as there is a lot of omega reader

creature reader

poc reader { I’ll mostly be writing this with a desi reader in mind any way}

alt reader

reader with an appearance descriptor { eg. plus size , with stretch marks, tall , short hair ,ect } that is if they are only a few so that other people can still imagine themselves in the fic

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

* all characters will be Na'vi(aside from spider and trudy) but reader will be human or some other creatures from earth or some other Plante that is not Pandora (might do asgardian reader or Vulcan reader)

Also the breathing tech will be different so that we can have more normalcy so no full face masks

☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*･ﾟ:⋆*･ﾟ ☾ ⋆*

[haveyoureadthismgyabook]

Series info...

Book one in the Dear America series

A Journey to the New World

The Winter of Red Snow: The Revolutionary War Diary of Abigail Jane Stewart, Valley Forge, Pennsylvania, 1777 by Kristiana Gregory

When Will This Cruel War Be Over?: The Civil War Diary of Emma Simpson, Gordonsville, Virginia, 1864 by Barry Denenberg

A Picture of Freedom: The Diary of Clotee, a Slave Girl, Belmont Plantation, Virginia, 1859 by Patricia McKissack

Across the Wide and Lonesome Prairie: The Oregon Trail Diary of Hattie Campbell, 1847 by Kristiana Gregory

So Far from Home: The Diary of Mary Driscoll, an Irish Mill Girl, Lowell, Massachusetts, 1847 by Barry Denenberg

I Thought My Soul Would Rise and Fly: The Diary of Patsy, a Freed Girl, Mars Bluff, South Carolina, 1865 by Joyce Hansen

West to a Land of Plenty: The Diary of Teresa Angelino Viscardi, New York to Idaho Territory, 1883 by Jim Murphy

Dreams in the Golden Country: The Diary of Zipporah Feldman, a Jewish Immigrant Girl, New York City, 1903 by Kathryn Lasky

Standing in the Light: The Captive Diary of Catharine Carey Logan, Delaware Valley, Pennsylvania, 1763 by Mary Pope Osborne

Voyage on the Great Titanic: The Diary of Margaret Ann Brady, RMS Titanic, 1912 by Ellen Emerson White

A Line in the Sand: The Alamo Diary of Lucinda Lawrence, Gonzales, Texas, 1836 by Sherry Garland

My Heart Is on the Ground: The Diary of Nannie Little Rose, a Sioux Girl, Carlisle Indian School, Pennsylvania, 1880 by Ann Rinaldi

The Great Railroad Race: The Diary of Libby West, Utah Territory, 1868 by Kristiana Gregory

A Light in the Storm: The Civil War Diary of Amelia Martin, Fenwick Island, Delaware, 1861 by Karen Hesse

The Girl Who Chased Away Sorrow: The Diary of Sarah Nita, a Navajo Girl, New Mexico, 1864 by Ann Turner

A Coal Miner's Bride: The Diary of Anetka Kaminska, Lattimer, Pennsylvania, 1896 by Susan Campbell Bartoletti

Color Me Dark: The Diary of Nellie Lee Love, the Great Migration North, Chicago, Illinois, 1919 by Patricia McKissack

One Eye Laughing, the Other Weeping: The Diary of Julie Weiss, Vienna, Austria to New York, 1938 by Barry Denenberg

My Secret War: The World War II Diary of Madeline Beck, Long Island, New York, 1941 by Mary Pope Osborne

Valley of the Moon: The Diary Of Maria Rosalia de Milagros, Sonoma Valley, Alta California, 1846 by Sherry Garland

Seeds of Hope: The Gold Rush Diary of Susanna Fairchild, California Territory, 1849 by Kristiana Gregory

Christmas After All: The Great Depression Diary of Minnie Swift, Indianapolis, Indiana, 1932 by Kathryn Lasky

Early Sunday Morning: The Pearl Harbor Diary of Amber Billows, Hawaii, 1941 by Barry Denenberg

My Face to the Wind: The Diary of Sarah Jane Price, a Prairie Teacher, Broken Bow, Nebraska, 1881 by Jim Murphy

Where Have All the Flowers Gone? The Diary of Molly MacKenzie Flaherty, Boston, Massachusetts, 1968 by Ellen Emerson White

A Time for Courage: The Suffragette Diary of Kathleen Bowen, Washington, D.C., 1917 by Kathryn Lasky

Mirror, Mirror on the Wall: The Diary of Bess Brennan, Perkins School for the Blind, 1932 by Barry Denenberg

Survival in the Storm: The Dust Bowl Diary of Grace Edwards, Dalhart, Texas, 1935 by Katelan Janke

When Christmas Comes Again: The World War I Diary of Simone Spencer, New York City to the Western Front, 1917 by Beth Seidel Levine

Land of the Buffalo Bones: The Diary of Mary Ann Elizabeth Rodgers, an English Girl in Minnesota, New Yeovil, Minnesota, 1873 by Marion Dane Bauer

Love Thy Neighbor: The Tory Diary of Prudence Emerson, Green Marsh, Massachusetts, 1774 by Ann Turner

All the Stars in the Sky: The Santa Fe Trail Diary of Florrie Mack Ryder, The Santa Fe Trail, 1848 by Megan McDonald

Look to the Hills: The Diary of Lozette Moreau, a French Slave Girl, New York Colony, 1763 by Patricia McKissack

I Walk in Dread: The Diary of Deliverance Trembley, Witness to the Salem Witch Trials, Massachusetts Bay Colony, 1691 by Lisa Rowe Fraustino

Hear My Sorrow: The Diary of Angela Denoto, a Shirtwaist Worker, New York City, 1909 by Deborah Hopkinson

The Fences Between Us: The Diary of Piper Davis, Seattle, Washington, 1941 by Kirby Larson

Like the Willow Tree: The Diary of Lydia Amelia Pierce, Portland, Maine, 1918 by Lois Lowry

Cannons at Dawn: The Second Diary of Abigail Jane Stewart, Valley Forge, Pennsylvania, 1779 by Kristiana Gregory

With the Might of Angels: The Diary of Dawnie Rae Johnson, Hadley, Virginia, 1954 by Andrea Davis Pinkney

Behind the Masks: The Diary of Angeline Reddy, Bodie, California, 1880 by Susan Patron

A City Tossed and Broken: The Diary of Minnie Bonner, San Francisco, California, 1906 by Judy Blundell

Down the Rabbit Hole: The Diary of Pringle Rose, Chicago, Illinois, 1871 by Susan Campbell Bartoletti

[tessherongraystairs]

Kit reads the diary and poems of Matthew Fairchild and he is convinced that Matthew secretly had a crush on Alastair so he asks Jem and Tessa about it and they both laugh it off and say "oh no no no Matthew and Alastair were like Gabriel and Will, friendly rivals" and then Kit stares off like he's looking into a camera like Jim from the office

*I will die on the hill that is matthew was secretly into alastair bc 1) alastair is hot as fuck and 2) matthew has a habit of developing crushes on people he shouldn't and the self resentment(plus possible internalized homophobia) from that crush could explain why he was always so upset with alastair for no reason

oh ya also he kept on describing Alastair's eyebrows

im not sure if tht's in a fanfic or not

plot twist gabriel/will were into each other LMAOOOOOOO

[spilladabalia]

Grandaddy - Cabin In My Mind

[doomandgloomfromthetomb]

Grandaddy - The Paradise, Boston, Massachusetts, August 9, 2003

Twenty years ago, my girlfriend Dulcie and I climbed aboard the Grandaddy tour bus, which was parked in front of the Paradise on Commonwealth Ave. I was just a kid, trying to get some music journalist cred; this may not have been going backstage to interview Mick at a Rolling Stones concert, but it felt like a big deal at the time!

I chatted for a while with drummer Aaron Burtch, who was a super nice dude. Dulcie (who I would soon marry!) snapped some pics afterwards (Jason Lytle was a no show, sadly). Later, we caught the show in the very very very hot Paradise. Grandaddy was a (surprisingly?) terrific live band both times I saw them — something that's on display on this excellent recording. It's available on the massive Grandaddy Live Archive, which is a wonderful resource. All bands should have a page like this!

And hey, here's the article I wrote for the long-defunct Junkmedia.org:

The execs at V2 Records were shocked earlier this year when they received the tapes for Grandaddy's new record, mysteriously titled Arm of Roger: The Ham and Its Lily. The label was expecting big things from the band, especially following the critical and commercial success of 2000's masterful The Sophtware Slump. But after almost a year of recording in frontman Jason Lytle's home studio, the Modesto, CA-based group had turned in a follow-up that was disappointing, to say the least.

In fact, the new record was terrible.

Kicking off with the sonic mayhem of "Robot Escort" and closing with an offensive, if nonsensical ditty called "The Pussy Song", Arm of Roger was nothing short of career suicide — 35 minutes of un-listenable garbage. V2 staff members spent about a week in a state of panic, thinking that one of their flagship bands had gone completely off the deep end.

Grandaddy drummer Aaron Burtch chuckles, recalling the label's reaction. "The people who didn't know us that well there, they were saying, 'We've gotta get these guys into rehab, this is a bad situation, there's absolutely no way we can put this record out.'" But finally, the band's A&R; person, Kate Hyman, left a message on Lytle's answering machine.

"OK, motherfuckers," she said. "Where's the real album?"

"There had just been one too many record label calls to Jason's house, wondering where the record was," Burtch laughingly explains, relaxing in the "smoking lounge" of Grandaddy's tour bus a few hours before the band's show at the Paradise in Boston. As "a kind of tension-breaker" at the tail-end of a long and difficult year of recording sessions, Lytle, guitarist Jim Fairchild, and keyboardist Tim Dryden concocted the Arm of Roger album in three alcohol-fueled nights. "They just got super-hammered and banged this really stupid record out really fast," Burtch says. "And then we Fed-Ex'd it right over to them. It's good to keep people on their toes. Especially record labels."

V2 must have breathed a collective sigh of relief when Grandaddy duly delivered Sumday a week later. Picking up where The Sophtware Slump left off, the "real album" is easily one of the year's best. While not as career-defining as its predecessor, Sumday refines the band's futuristic pop sound and features some of Lytle's most accomplished songwriting to date. Like all Grandaddy releases, the new album is a self-produced affair. "One hundred percent of the album was recorded at Jason's house," states Burtch proudly. "We've always, always done that. I don't think we could do it any other way."

Despite the comfortable confines of Lytle's home studio, Sumday's birthing process wasn't an easy one. "It took a long time," Burtch says. "There were five or six months of set-up time, starting with us getting a bunch of new gear in. Then we had to make sure everything worked. And then we had to make sure Jason knew how to work it all." Finally, the band commenced recording, only to hit a wall about halfway through. "We had about six songs finished, but we had to take a break so Jason could get his head back on straight. He had just been down in the dungeon for months by that point."

Another disturbing development was Modesto's burgeoning reputation in the media as a hotbed for shady activities. "It's become the capital of young missing women, which is kind of scary," Burtch says of the central California tract-housing sprawl Grandaddy calls home. "There were the Yosemite Murders four years ago, and then the whole Laci Peterson thing happened. It's terrible, but if you live there, you just think, 'That fuckin' figures'." Still, he has no plans to relocate. "It's a weird place, for sure," he admits. "But I'm not gonna move, as far as I know. That's because we've all kind of built our own little oasis there that's separate from everything else."

Not that the band will be spending much time stoking the homefires in the coming months. With a tour itinerary that began in April and stretches well into December, they'll be lucky to spend more than a weekend off of the road. "This," says Burtch, pausing to gesture towards the cramped confines of the band's tour bus, "is not what we do. We make music, and we'd like to play shows, but we don't want to play a show a night for a year and a half. Radiohead has it down. They put out their record, play forty shows and then they go home. It'd be neat to be afforded a luxury like that. That would be the ideal. Big records, not so big tours."

Grandaddy isn't at this level yet — not by a long shot. Still, the band is selling out most of their club dates, and is greeted rapturously by fans. Upcoming shows in the UK and the US with Super Furry Animals will see the band reaching an even larger audience. "That'll be really cool," says Burtch. "Super Furry Animals had us come out and open for them in the UK in 1998, before anyone knew who we were out there. We've been friends with them since then. And that was the first time we'd played big places, with proper sound equipment and all that. So we owe them a huge debt."

Of course, the current tour was almost over before it began. During the band's spring stint as the opening act for Pete Yorn, guitarist Fairchild was literally run over by a tour bus carrying production equipment. After a few too many post-concert libations, he stumbled down some stairs and found himself beneath the wheels of the 18-wheeler. Miraculously, Fairchild only broke some small bones under his shoulder, and was onstage performing (with his arm in a sling) a few days later. "Hey, shit happens," says Burtch of the incident. "Sometimes you almost die, sometimes you don't. You put a bunch of skateboarders in a bus and tell 'em 'You can't do this and you can't do that, and you have to be back here at one o'clock' — you're fuckin' asking for it. Shit happens..."

[phantom-le6]

Episode Reviews - Gotham: Season 1 (4 of 4)

Episode 19: Beasts of Prey

Plot (as adapted from Wikipedia):

Gordon gets asked by a young officer to investigate the murder of a girl, Grace Fairchild. Along with Bullock, they interrogate a bartender for information. Through flashbacks, a man (revealed in a later episode as Jason Lennon) seduces Fairchild in the bar and brings her to his house, but when she asks to leave, he holds her hostage in an attempt to keep her as his lover. However, when she continues to respond with fear, he kills her. Upon discovering a painting of a broken heart, Bullock states the murderer is a serial killer known as "The Ogre", who targets young women. He also reveals that whoever tries to catch him, the Ogre kills a loved one in revenge.

While on the prison island, Mooney develops an escape plan with the prisoners. Upon realizing only boats and helicopters are the way out, Mooney sends a group of thug prisoners to reach the boat. However, when they reach the boat, they realize Mooney betrayed them so the others could escape and are killed by the guards. Mooney and the rest of the prisoners escape in the helicopter, although Mooney receives a bullet in the rib as she is piloting the helicopter away.

Bruce and Selina go after Reggie Payne. They find him in an abandoned warehouse. When Selina threatens to throw his drugs through a window, Payne reveals that the Wayne Enterprises person who sent him to retrieve the files was Sid Bunderslaw. Although he tells them everything, Selina throws the drugs out the window. Payne states he will tell Bunderslaw that Bruce is after him. When he tries to retrieve the drugs, Bruce is tempted to push him through the window but is hesitant. Selina, however, does not hesitate throws Payne through the window, killing him.

Bullock interrogates the officer who sent Gordon to go after Fairchild's kidnapper. He finally reveals that Commissioner Loeb sent him to give the case to Gordon. Realizing Lee may be in danger, Gordon angrily confronts Loeb. He promises that after arresting the Ogre, he'll go after him.

Review:

This episode opens up a closing arc for Jim Gordon that in some respects feels mis-placed.  Loeb’s capitulation to Gordon in the previous episodes feels at odds with him setting Gordon at odds a serial killer, and the content of the subsequent episodes in this arc seems like something we should see spread out over more episodes to be more believable.  At the same time, we get an interesting conclusion to Mooney’s side-plot on the island, and while it’s good to see the Bruce Wayne plot threads progressing, not sure Selina killing Reggie was the best move.  A very severe injury instead of outright death or Selina being a bit more shaken would have been better, especially since we’re working with a character like Bruce who is typically portrayed as a staunch no-killing kind of hero.

As such, I think any tendency to kill on Selina’s part should have been delayed or result in some sign that she struggles with it.  Her lack of apparent hesitation or remorse makes her seem like of a hardened anti-hero or flat-out mentally ill villain of the Arkham Asylum variety, neither of which feels right for a character who is more shades of grey than anything else.  For me, this episode is interesting but far from the best, and I’m not inclined to give it more than 6 out of 10.

Episode 20: Under The Knife

Plot (as adapted from Wikipedia):

Feeling the Ogre may be coming for Lee, Gordon unsuccessfully tries to convince her to leave town. In a bar, Lennon has a new date; Barbara. He plans to kill her in her penthouse but decides not to after he realizes she feels lonely and depressed. Not comfortable with him, she tells him to go.

Gordon and Bullock interrogate the first victim of the Ogre's revenge, Detective Ben Mueller, whose wife was killed by the Ogre. They learn that the killer’s first victim was a nurse at a cosmetic surgery clinic, but the clinic won’t reveal any details that might lead to the Ogre’s identity without a court order. As Bullock and Gordon leave the clinic, they're almost run over by the Ogre, who later calls Gordon and threatens to kill someone unless he retires from the investigation. Instead, Gordon outs the Ogre’s existence to the press and urges the public to come forward with any information.

Later, Gordon and Bullock investigate the manor home of Constance Van Groot, who apparently referred the Ogre to the clinic. In the process, they save a butler, Jacob Skolimski, from being hanged and discover the corpse of Constance Van Groot. They realize the Ogre is called Jason Skolimski, Jacob’s son. Jason killed Constance Van Groot because she led him on in delusions that she was his mother, only to reveal that it was all a game. Skolimski also reveals that Jason was born with a disfigured face that would make it impossible for him to seduce women, explaining the falsified referral in the Van Groot name to the cosmetic surgery clinic.

Bruce and Selina continue their investigation in Wayne Enterprises. Accompanied by Barbara, they attend Wayne Enterprises' Charity Ball. While Bruce distracts Sid Bunderslaw, the director of Physical Operations, Selina steals Bunderslaw's keys to make a copy. Cobblepot is forced to have dinner with Maroni and his mother Gertrude. While talking, Maroni reveals to Gertrude that his son has killed many people. Cobblepot swears to kill him.

While looking for files, Nygma discovers Ms Kringle has bruises in her arm from being abused by her boyfriend Officer Dougherty. Nygma confronts Dougherty at the police precinct to no avail, and then tries again outside Ms Kringle’s apartment, where Dougherty begins to beat him.  However, Nygma accidentally stabs him and then proceeds to keep stabbing him to death, possibly out of fear that Dougherty could either arrest him or hurt him back. Later, Gordon realises Barbara was with him on a photograph in the last Ball, and that the Ogre will actually target Barbara instead of Lee. In his home, Jason introduces Barbara to a room of BDSM equipment and possible torture tools.

Review:

This episode finally brings Barbara Kean back into events as Gordon begins hunting for the serial killer Loeb used to try and force him (Gordon) into line.  It’s interesting to see her and begin moving towards her being caught by the Ogre, but at the same time, it’s disappointing to see the same lazy writing as so many other TV shows and films being trotted out when it comes to the association of BDSM equipment with torture.  It’s up there with hypnosis/mind control, homosexuality and other tropes for being “othered” and used as a staple for the “bad guys”.  As much as it works for the Ogre’s strange and disturbing pathology, I think they could have done better.  Certainly CSI did better on this subject back in the day, and it’s irritating that other shows and films can’t show a similar intelligence.

That aside, we get a little progression for Bruce and Selina, though the handling of it in regards to Selina and her decision to kill Reggie remains poor if Selina is meant to remain a friend, or at least ally, of Bruce.  We also get a major dose of the off-again, on-again plot thread for Nygma as he ends up killing Officer Dougherty for abusing Ms Kringle.  Not exactly a move any audience member is going to disapprove of if they or anyone they know has been an abuse victim, but also not a move strictly in keeping with Nygma’s more typical depictions in Batman lore, which tends to be more related to heists than murder.  We also get a small nugget of on-going gang drama with the Penguin, though curiously no follow-up on Mooney’s escape from last episode.  Added all together, I give this episode 7 out of 10.

Episode 21: The Anvil or The Hammer

Plot (as adapted from Wikipedia):

Jason "The Ogre" Lennon proceeds to torture Barbara after revealing that while he originally planned to kill her, he believes she is his one true love and his torture is intended to reveal her “true self”. Eventually, he asks her to choose his next victim, threatening to kill her if she doesn’t. Meanwhile Gordon and Bullock continue their investigation. They learn the Ogre frequents an exclusive and mobile brothel known as the Foxglove, and Gordon secures an invitation for the purpose of an undercover investigation, though he puts himself in further debt to Cobblepot to do so. During the subsequent investigation at the Foxglove, Gordon and Bullock locate the Ogre's apartment in a building that overlooks Gotham Royal Hotel, but he and Barbara had already left for her parents' mansion, where both parents are killed. Nygma disposes of officer Dougherty's body in the forensic lab and pens a letter, posing as Dougherty, explaining that he left town.

Bruce sneaks into Bunderslaw's office at Wayne Enterprises and opens his safe, which is empty. Bunderslaw himself arrives and reveals that he was expecting Bruce, and has consequently removed the incriminating documents. He confesses to Bruce that his father and grandfather knew about illegal activities in the company, but decided to keep quiet. Afterwards, Bunderslaw orders Lucius Fox to lead Bruce away. Lucius subtly tells Bruce that while Bruce's father knew of the illegal activities, he did not approve of them.

The O'Connor assassination attempt is revealed to be a set-up designed by Cobblepot to start a war between Falcone and Maroni. Meanwhile, Gordon and Bullock arrive at the house of Barbara's parents to find them dead. After a brutal fight with Jim, the Ogre holds Barbara at knifepoint until Bullock distracts him for Jim to shoot him. Later, Jim confesses to Leslie that he no longer loves Barbara. Consumed with guilt, Bruce confesses his and Selina's murder of Reggie to Alfred, eventually also admitting to his visit to Bunderslaw. After Alfred tells Bruce that his father was a good man, Bruce states that even good men can have dark secrets.

Several crimes and killings are committed by Maroni and his crew against Falcone’s forces.  This comes to the attention of Captain Essen, who calls for all officers of the GCPD to remain on duty during the gang war that is apparently breaking out in Gotham.

Review:

The Ogre arc appears to conclude in this episode, though in light of how the next episode plays out, some moments can be read as potential foreshadowing in this episode that maybe we’re not done there yet.  Meanwhile, the other plots from the last episode, namely Bruce’s investigation, Cobblepot’s scheming and Nygma’s murder of Dougherty all proceed reasonably well.  The first of these gives us our first sight of Lucius Fox in the Gotham continuity, which is certainly a mark in its favour, and Penguin’s plot nicely sets up for the season finale.  All in all, it’s a better episode than the last couple, though not quite anything really great.  On balance, I’d give it 8 out of 10.

Episode 22: All Happy Families Are Alike

Plot (as adapted from Wikipedia):

A group of homeless people, among them Selina, witness the arrival of Fish Mooney and the escapees from Dollmaker's Island. Mooney approaches Selina and states that it will be a "new day". Selina and the children soon join Mooney's gang.

Two weeks later, Bruce becomes convinced his father led a double life and with help from Alfred, he looks through his father's study room. Carmine Falcone is shot during an ambush in the port by Maroni's men and taken to the hospital. At the GCPD, Barbara decides to take trauma counselling from Dr. Leslie Thompkins after her torture and the death of her parents at the hands of the Ogre.

Cobblepot and Butch Gilzean arrive at the hospital, intending to kill Falcone. Cobblepot reveals planning the mob war since before making his deal with Falcone. Gordon stops them and handcuffs Cobblepot and Butch to a pipe and frees Falcone. Falcone will need two days in a hideout to find a way to stop the war and Gordon agrees to help him. Cobblepot, realizing Maroni's men are coming and will kill him for his betrayal, pleads with Gordon to free him, citing the favour Gordon owns him and the fact that since he has arrested them, he has a sworn duty to protect them. Commissioner Loeb arrives with Maroni's hitmen and orders them to kill Gordon and Falcone. A shootout between Gordon and the hitmen ensues with Gordon killing the hitmen. With help from Bullock, Gordon, Falcone, Cobblepot and Gilzean escape in an ambulance.

They get to Falcone's safe house but are taken hostage by Mooney's gang. Mooney is even more furious after noticing Butch's brainwashing treatment delivered by Victor Zsasz and taken advantage of by Cobblepot. Mooney makes a trade with Maroni: in exchange for Falcone's head, Maroni will return Mooney's territories. Mooney also plans on killing Cobblepot for using the brainwashed Butch but spares Bullock's life. However, during the meeting with Maroni, Maroni makes sexist comments about Mooney, which causes her to shoot him in the head. Maroni's and Mooney's gangs then fight, which gives enough time to Falcone, Gordon, and Bullock to escape to a cargo container. Falcone decides he's done with “business” and plans on retiring. Selina and other members of Mooney's gang recapture them and bring them back to Mooney. However, Cobblepot then appears with a machine gun and kills some gang members before pursuing Mooney to the rooftop of the warehouse, giving Falcone, Gordon and Bullock a chance to escape. Meanwhile, during her therapy session with Leslie, Barbara reveals that she murdered her parents, enraged that they never loved her. She then attempts to kill Leslie, showing that she has become as criminally insane as the Ogre. Leslie manages to neutralize Barbara in self-defence just as Gordon, Falcone, and Bullock arrive.

On the rooftop of the warehouse, Mooney and Cobblepot engage in a violent fight. Butch arrives with a gun, but he is torn between his brainwashing to obey Cobblepot and his loyalty to Mooney. Eventually and as if under a compulsion, he shoots both of them to satisfy the conflicting pleas from both. Mooney forgives Butch for shooting her but Cobblepot insults Butch. He then pushes Mooney to the edge of the rooftop, which makes her fall in the water, seemingly killing her. A shocked Butch watches in horror as Cobblepot climbs to the edge of the rooftop and shouts, "I am the king of Gotham!"

In the GCPD, in the file room, Kristen Kringle reveals to Nygma something she found in the note from "Dougherty": the first letter of each line spells out N-Y-G-M-A, his surname. Nygma denies any knowledge of the letter. When Kringle leaves, he appears to suffer a mental breakdown and talks to an alternate personality that has manifested itself in his mind. Before leaving Gotham, Falcone gives Gordon a knife Gordon's father gave him, stating, "The knife is a good friend when you have no others." Meanwhile at Wayne Manor, Bruce and Alfred appear to find nothing in the study. After Alfred states "none so blind", referring to Marcus Aurelius, Bruce recalls Lucius Fox calling his father "stoic". He finds a relevant book with a device hidden in the cover and turns it on, revealing stairs behind the fireplace that lead to a cave.

Review:

For a season finale, this one is pretty good.  Being a serialised show, it doesn’t exactly end on a definite cliffhanger or conclusive ending, but instead we get a little of both depending on the plot thread.  As such, let’s deal with each thread in turn.  Firstly, the gang war; mostly good, though the removal of Maroni makes me wonder how, if at all, this show is going to handle any eventual transformation of Harvey Dent into Two-Face in later seasons.  After all, the definitive Two-Face origin is him being hit by acid courtesy of Salvatore Maroni, and now that can’t happen.  Does that mean this show will take a page from the Nolan films or the Batman animated series and have a different cause/culprit for the scars?  Will Harvey remain unscarred until the time when Bruce is Batman?  More pressing, however, is whether Cobblepot’s assertion of being the new king of Gotham’s underworld has any validity.  Just because the other big players above him have apparently either retired or died by no means ensures his dominance in their absence, so it’ll be interesting to watch season 2 and remind myself how this plays out.

Second, the aftermath of the Ogre.  This episode is where the Ogre story arc reveals that its length doesn’t necessarily match its events.  The revelation that Barbara has become so mentally deranged after a seemingly short period of mental conditioning seems to suggest the show-runners were using an unrealistic cheat and progressed Barbara too much in too short a space of time.  Now if it had been over a few episodes that the Ogre conditioned Barbara, her turning on Leslie in this episode might be a bit more credible, but considering the Hollywood tendency to demonise any obvious example of mental conditioning, I suspect they’re a bit clueless on this subject.  Then again, Barbara has been through some prior ordeals and has some pre-existing mental health issues, so it could also be an example of the proverbial straw breaking the camel’s back.

Third, let’s consider Nygma’s origin story.  The reveal of his faked note from Dougherty spelling out his own name finally sees Nygma begin to show signs of his eventual Riddler persona.  This is a nice touch, though the split personality scene is strange given that Nygma is normally shown to just have an obsessive compulsion to leave riddles at his crime scenes, and a split personality of any description isn’t a typical part of his character.  The question here is whether the writers added this component to give the character more appeal as a villain to non-comic fans among the viewers, or are they showing the same kind of ignorance that seems threaded into aspects of the Ogre story arc.

Lastly, we have Bruce and Alfred looking more into the secret life of Thomas Wayne, and in the process finding the Bat-cave.  As season-ending shots go, that is one of the best ones to end on just for the sheer iconic significance of the cave.  Now if I were to combine all of this together and impart a score on the first season’s last episode, what would that score be?  To be honest, I can only give this episode 8 out of 10.  If they’d stretched out the Ogre plot for a few more episodes, maybe looked in on Fish a bit between episode 19 and this one, it could have done even better.  Honestly, Fish Mooney turning up hale and hearty after the character had been shot in episode 19 and then being unseen for two episodes feels a bit off.  Hopefully there will be better consistency in story-telling when we look at season 2.

[savage-kult-of-gorthaur]

"... IT'S MINDBOGGLING HOW YOU CAN FIT INTO THAT LITTLE OUTFIT! WHAT DO THEY DO -- POUR YOU INTO IT?"

PIC INFO: Spotlight on a splash page of Caitlin Fairchild, founding member of superhero team Gen 13, guest-starring in "Divine Right: The Adventures of Max Faraday" Vol. 1 #4 ["The Love Connection"]. December, 1997. WildStorm Productions/Image Comics.

STORY/SCRIPT: Jim Lee.

ARTWORK: Jim Lee.

INKERS: Scott Williams, John Dickenson, & Guy Major.

COLORISTS: Joe Chiodo, Alex Sinclair, & Wildstorm FX.

Source: www.lastdodo.com/en/items/3397711-divine-right-4.

[lovebooksgroup]

Follow the #Virtualbooktour for Shaitan by Cody W. Benjamin  | Proudly organised by @LoveBooksTours #BookTour #SupportingAuthors #BookPromotion

X Mail Print Facebook Pinterest Print Like Loading… Virtual Book Tour organised by Love Books Tours. Follow the tour across Instagram & TikTok. Shaitan by Cody W. Benjamin  4th – 6th September Genre: Crime / Mystery / Thriller Publisher: Ink Smith Publishing LBT Blurb Jim Fairchild, the new Peace Corps rep in Borneo, East Malaysia, discovers one of his volunteers in a torrid affair…