#june lovett

[catboy-joyfriend]

unfortunately her bestie looks like this and the hypothetical fandom would be obsessed with him. which is fair cuz i do love it dearly BUT....

im so upset because one of my ocs has mean nasty weirdgirl autism and i just know that so many of the people who say "oh we need more mean women" or whatever would hate her. whatever she's important to me

[sweetdonutsart]

An update on progress for my comic Dorm Days! I've been feeling motivated to finish ch 2 again after dropping it for a few months (I got a new job and am still learning the ropes). Trying to finish a page of rendering each day so that bubbles and effects can be done all at once. Hopefully i can finish it by the end of the month 😊

[avornalino]

first day of summer = park day with the twins' windenburg kids club !!

[krispyweiss]

Single Review: Lyle Lovett - “12th of June” (Alternate Versions)

Lyle Lovett was so enamored with “12th of June,” he made it the title track of his 2022 LP.

A year after the fact, the song is back as a double-A-side single with alternate versions; one featuring a who’s-who of Americana music - Jerry Douglas, Sam Bush, Stuart Duncan, Viktor Krauss, Bryan Sutton, Keith Sewell and Luke Bulla - and a sparser rendition with just Krauss, Sewell and Bulla.

Both iterations of the now-bluegrass - it was more country before - ballad are lovely. But fewer musicians are more in this case, allowing the vocal harmonies come to the fore on the latter as Lovett and his compatriots sing of the day the songwriter’s twins were born:

By the branch at San Jacinto/play for me a happy tune/know of all the days I loved/I loved best the 12th of June

With three versions now out, Lovett seems to feel the same about “12th of June” as well.

Grade card: Lyle Lovett - “12th of June” (Alternate Versions) - B/A

8/7/23

[marimayscarlett]

Richard & Till at the Maxidrome festival // Moscow, Russia // 19th June 2016 // 📷 by Lovette N

[werewiire]

Sweeney Todd Audio Gift <3

Sweeney Todd - Sydney - June 15, 2019 - Afternoon

Anthony Warlow (Sweeney Todd) & Gina Riley (Mrs Lovett)

Untracked (sorry), link under cut

Full principle cast: Anthony Warlow (Todd), Gina Riley (Lovett), Daniel Sumegi (Judge Turpin), Anton Berezin (Beadle Bamford), Owen McCredie (Anthony Hope), Genevieve Kingsford (Johanna Barker), Jonathan Hickey (Tobias Ragg), Debra Byrne (Beggar Woman), Tod Strike (u/s Pirelli), Matt Heyward (Fogg/ensemble).

Notes:

Not for sale! Please gift/trade as normal :)

At the beginning of the show, during Ballad of Sweeney Todd, the ensemble is slowly gathering around a table to host a seance. They join hands, and near the climax of the song, the tablecloth begins to rise and eventually Todd appears from beneath it like a ghost. Pretty neat staging idea.

Includes the Judge's reprise of Johanna, which is cut in many productions.

The orchestra is on stage, and during A Little Priest, Todd interacts with them -- especially during the "fiddle player"/"piccolo player" bit.

Link <3

[esmes]

please, give me any/ALL of your nellie lovett (or general sweeney todd) headcanons you have, i saw your comment on @demonbarberofbeepbeep's post and now im intrigued to see what you have (if you dont mind!)

oh, bless. i've had tons of nellie thoughts swirling around in my head since i flew my ass to new york in september to see the show for the first of what would turn out to be five times - it'll be nice to get them down at last. it's going under a cut though because i'm a yapper and it's long. this is all specific mostly to the 2023 revival and annaleigh's lovett (& josh's sweeney by extension.)

i also have a give a shoutout to worstpies for the incredible work they are doing over on ao3. their fics explore nellie and sweeney in a way that takes my breath away every. damn. time. i'm sure i've absorbed some of their incredible characterizations into my brain and bloodstream at this point. if you haven't yet experienced their fic, run. run!!! do not walk.

adult content herein, this is your warning lol

pre-canon

nellie has a june birthday. (she's a cancer. !! she's SUCH a cancer, y'all.... which may also be a little of annaleigh infusing a little of her own magic into her bc she is also a cancer lol)

her marriage to albert lovett was almost too good to be true, as far as her mother was concerned. he belonged to the merchant class and could provide for her. had she not married him, nellie likely would've gone into service.

albert was a decent husband, though no great lover. she dreamed early on of having a child, so she went about sex dutifully. life never resulted. it made her feel like a failure, so she buried the dream and got to work.

nellie never shied away from a hard day's work in the shop. albert took care of the butchering, but she insisted he show her how it was done. his protests that it wasn't "a woman's work" were quickly overridden. it was brutal work, but nellie had the stomach for it.

she liked the shop best when it was bustling with customers - so many people to talk to. the men often indulged her in a little banter and a chat, which albert didn't much mind. truthfully, he was grateful for anyone who engaged with his effusive young wife, as it gave him a moment's peace. women seemed unsure of her - she was even more unsure of them.

the barkers moved in a few years before albert's health began to decline. they were beautiful in an ethereal way that made nellie feel like pond scum. they were also deliriously in love - it was plain to all. lucy had a radiant smile all for benjamin, and benjamin had a hard time looking at anything else in a room when lucy was there to be looked at. whenever they visited the shop, lucy seemed eager to move benjamin along.

nellie fixated on benjamin's hands. he had an artist's hands - deft, graceful. they looked like they'd be soft to the touch. she tested this theory one afternoon when he sought shelter in her shop from a sudden downpour. she insisted he sit down and have a pie until the weather let up. as she handed him a plate, she made sure their fingers brushed, searching his face for some sign he was as intrigued by her and she was by him. the faint touch had sent a spark through her that was so utterly unfamiliar she felt a bit dizzy. a little sheepish, he'd offered her a polite smile - still, it was all for her. no lucy in sight. she'd tucked the moment away and revisited it often.

with benjamin around, albert became something cumbersome to her. though she was still fond of him, in a way, she occasionally found herself wishing she could be unburdened (she felt horribly guilty after she had these thoughts, but that didn't stop them from coming.)

she got her wish, in part, on a tuesday. nellie had left albert in the parlor the evening prior. he never came to bed. it was not a shock - he had been in poor health. he left her with a decent sum and she was sure she could keep the business going on her own. the barkers came a few days afterward, benjamin's brown eyes full of sorrow for her. lucy barker had offered her polite condolences, but nellie didn't think she sounded very sorry.

when nellie learned of the baby barker on the way, she was devastated. at night, she would lie awake and imagine the barkers blissfully entwined so nearby, benjamin's hands on lucy's growing belly, and ache and ache and wish that it had been her instead.

nellie was watching johanna the night lucy went to see the judge. when lucy returned, her skirts were torn. she dragged her feet in uneven steps, nearly bypassing the shop altogether before seeming to remember she had a child still to collect. nellie had felt such indignation for benjamin then, anger rising like bile. with benjamin so recently gone? had she no loyalty? she had bitten her tongue then, but promised herself she'd say something when the time was right. lucy had a queer look in her eye - she took johanna from nellie's arms without a word, without even a thank you, and disappeared up the stairs.

when all was said and done, and johanna whisked away by the judge, it fell to nellie to decide what was to be done with lucy. the former mrs. barker was so terribly addled, her beauty transfigured into something so pitiable it made nellie hiss just to look at her. she haunted the room upstairs until nellie forced her out. the money albert had left her was dwindling by the month, she reasoned - she could use a proper, paying tenant, and lucy wasn't worth a day's work. she had begged, of course, but nellie was in a fog of grief all her own. she hardened her heart to lucy's pleas and sent her howling into the london night.

in the years benjamin was gone, she rebranded the store as mrs lovett's in hopes it would bring in new customers. it did not do much to help. having sold everything she could bear to part with (not the razors, never the razors), she briefly considered selling her body. she'd decided she'd rather die.

canon events

she is starving in more ways than just one when benjamin returns to her. she's ashamed to admit it, but it takes her a moment to recognize him. she's midway through recounting the story of what happened years ago when she notices his sickly pallor, his expression growing more grim with every new detail until he begins to tremble. at exactly the moment she sees the hope flicker and die in this strange man's eyes, she feels something stir in her. a memory, tucked away for safekeeping, of brushing hands and a shy, soft smile. it's him. it's him it's him it's him, she thinks, and feels full for the first time in a long, long while.

the lie does not feel like a lie at first. lucy is as good as dead. the thing that wanders the alleys, yowling like a cat in heat and cursing anyone who draws too near, bears no resemblance to the pretty blonde wife benjamin had loved all those years ago. the lie tumbles out of her and it feels right. kind, even.

she would've welcomed him into her bed the very night he returned if he'd wanted it. the desire that alights in her the minute she has him all cleaned up is overwhelming; she tries to sate it in the early days with little touches here and there, drinking him in whenever she can. he jumps and starts at first. she teaches him, bit by bit, to once again welcome another person's touch. she has to try very hard not to be greedy. it takes patience, but she has all the time in the world for him.

they fuck for the first time after the contest with pirelli. they return to the shop triumphant, nellie on his arm like some sort of prize. there's a mean gleam in his eyes, so unlike the brooding, far-off look they often have these days. she had loved benjamin for all the softness in his ways, but she had been little more than a girl then, softer herself. that girl had not known what it was like to be sick with hunger and grief, to be alone for days on end. there is something dark and insatiable in this new man that calls to something similar in her. he proves it to her when he takes her on the countertop. it is messy and unceremonious and she is self-conscious. he leaves flour streaks in her hair and scratches down her arms she will later admire in front of her mirror.

nellie never knew sex could be like this. she never minds when it aches and bruises. it must be good for him too, to keep him coming back every night.

sometimes, when she manages to convince him to come out for a walk around town, nellie catches sweeney watching the children at play in the streets. she knows he must be thinking of johanna and for the first time in a long time, curses her womb for the life that can never seem to take hold there. she prays at night, harder than she's ever prayed before, for a child. when toby comes into their lives, she thinks, that'll do.

she holds those hands of his every chance she gets. they are not as soft now, but she doesn't mind. she cannot believe they are hers to touch. sometimes he is receptive to her touch, even reciprocal. other times, he pulls away from her as though burned. she tries not to fret over it, but it stings a bit.

she never tires of the little terms of endearment he throws her way - "pet", "love", etc. sweeney calls her "nell" once when he is distracted. it sends a thrill through her, even as he looks so surprised that it breaks her heart a little. he never does it again, but she never stops hoping he might.

nellie knows he isn't always seeing her when he looks at her. she knows she is not what he was hoping for, but is determined to be what he longs for now.

sweeney is sullen most of the time, but on the rare occasion he is pleased with something, he whistles absent-mindedly. whenever she hears him whistling a tune from the other room, she fancies it's her that's got him so pleased and grins like the cat that got the cream.

they do not eat the pies. the time after she comes up with their new business strategy is the best either of them has eaten in their lives, though. she spoils the boys as best she can with her cooking. even her own figure fills out in places she'd always wished it would.

sometimes, she sees in him traces of what she supposes used to be benjamin. when he’s too rough with her, she isn't fussed, but still, he apologizes afterward, embarrassed. when she's especially tired after a long day, he will make a little joke, and she'll catch him waiting to see that she laughs. when she tells him sometime in late spring that her birthday is approaching, lamenting her advancing age, he remembers the day. he agrees to walk with her and lets her pick out flowers from a stall at the market. he grows cross with her when it makes her teary, but she thinks he forgives her well enough for her blubbering when she sucks him off that evening.

sweeney todd is the only real friend she's ever had. neighbors and acquaintances about town were good for a chat every now and then, for delighting in the misfortunes of one's rivals, but who else would she trust with her life like this? his violence thrills her, even frightens her on occasion, but she never doubts her safety when he holds her - until she does. and by then, it's much too late.

she's the happiest she's ever been before just days before she dies.

[posttexasstressdisorder]

Monday, 12-09-24, 8am Pacific

'Mornin', everyone...yes, it's Monday again, and while I was making my carafe of French Roast (extra black) I got (as Hayley Mills would say) a Scathingly Brilliant Idea. We'll start our cycle of hearing all the Preludes and Fugues of both books of Bach's Well Tempered Clavier over again, but this time with Our Favorite Canuck at the modern piano, his Columbia recordings of the complete cycle. So with no further ado, here is Glenn Gould with Preludes and Fugues Nos. 1, 2, and 3, from Book I of Bach's Well-Tempered Clavier.

Ah, there's something about the combination of Coffee, Bach, and Glenn Gould that just hits the right buttons to get me in gear and focused. Let's hear the music of Schubert next, his String Quartet No. 13 in A Minor, D.804, "Rosamunde", played by the Vienna Konzerthaus Quartet, a historic recording from 1950.

Moving forward in time and shifting our focus from Vienna to the English Countryside, let's hear our old friends Neville and The Academy play Vaughan Williams' "English Folksong Suite", from their classic 1981 recording.

The Ballades of Chopin are each unique, and are as individual in style and demands as the Scherzos. Horowitz, surprisingly, did not record the second! Here is the Ballade No. 2, Op. 38, is Claudio Arrau, from a recording made in 1956.

And here is a pleasantly quirky and spritely little Wind Quintet by Sir Malcolm Arnold, his Opus 2, played by The East Winds.

Now let's turn to what is, effectively, Rachmaninoff's Fifth Piano Concerto, his "Rhapsody On A Theme of Paganini", played in a historic performance by William Kappell with (oh, joy!) Fritz Reiner conducting The Robin Hood Dell Orchestra, Recorded in 1951, June 27.

Next we hear another historic recording, this one from 1957, by The Amadeus Quartet (Norbert Brainin - Siegmund Nissel - Peter Schidlof - Martin Lovett), of Haydn's String Quartet, Op. 54, No. 1.

And we've got one last piece to share this morning, and to end on a high note, here is Horowitz with Robert Schumann's Toccata in C Major, Op. 7, in this historic performance recorded at EMI in 1934!

That wraps up this Monday edition of Morning Coffee Music for this Monday in early December, which hardly seems possible, but here we are! This is Mr. Baggins signing off for now. I hope you've enjoyed the music this morning and possibly heard something new to your ear. I'll be back at 2pm Pacific with your Afternoon Stack of Classic Wax!

Until the, be kind, babies, be kind.

Baggins out.

[radiomaxmusic]

Feature LP / Lyle Lovett - 12th of June (2022) / 10am ET / 11-1-24

Lyle Pearce Lovett (born November 1, 1957) is an American singer, songwriter, actor and record producer. Active since 1980, he has recorded 13 albums and released 25 singles to date, including his highest entry, the number 10 chart hit on the U.S. Billboard Hot Country Songs chart, “Cowboy Man”. Lovett has won four Grammy Awards, including Best Male Country Vocal Performance and Best Country…

[opspro2005]

Lyle Lovett - 12th of June

Lyle’s politics are garbage, but he’s living proof that even some liberals still have a soul and a heart. This classic is living proof of that.

[boltlightning]

ok. saw sweeney todd revival on broadway. i went from not knowing any songs to seeing two productions in one summer so. thoughts:

because im me my immediate takeaway was: it's been a hot second since i saw a show with the orchestra in a pit down in front of the stage AND it was a 26-person orchestra with refreshed orchestrations! it was so crispy and tight and the energy of being able to see the conductor is difficult to put into words. i'm beyond glad they didn't hide the musicians backstage

there were a lot of people there just for josh groban — i was with family whom i persuaded to see this show because of josh groban, and i heard many people in line being like "hey so is josh groban the bad guy? how much does he kill" and there were some changes i feel reflected that. there was so much physical humor, and sometimes lines were added to further give context to someone's actions. i think it works overall, but you could feel the crowd paying less attention when mrs. lovett or sweeney weren't on stage lol

and it's so unsettling! the chorus has some incredible and strange choreography; the light coming through the steps up to the second story is so ominous; the harmonies SOAR through the theater. it's good stuff.

potentially spoily stuff about the production itself below:

and yes OF COURSE the leads were incredible. i feel like len cariou's sweeney is so angry and yet refined, and michael ball's goes hard on the madness and revenge, but groban's is so...sad. he's such a dad, he sings like an angel, it is so uncomfortable when he does something violent. groban's epiphany is HAUNTING and ELECTRIC and the way he interacts with the razors is incredible! and the way he plays a little priest is hilarious but makes it very clear that it is an extension of his mental break. genuinely and eye-opening experience thank you mr. groban

and ashford takes the more emotional cues from the 2007 movie, but makes you actually care about her lmao. like compared to lansbury's frenetic and absent-minded lovett, ashford is laid back and casual and almost lazy about all the weird shit happening around her. she feels bad about locking toby up, sure, but she's still gonna use it as an excuse to get sweeney to pay attention to her! she's funny she's heartfelt she's insane she wants to fuck sweeney todd so fucking bad. it's an incredible combo

and. yeah the rumors are true. she climbs josh groban like a jungle gym the entire time, and on the rare occasion sweeney snaps out of his brooding to reciprocate the flirting, it is HOT. their camaraderie on and off stage is potent. and it works in the other direction too — when he starts to flinch away from her in the second act it's painful.

i do think that the ending sequence in particular is kind of messy up until the last scene in the bake house; there's not a moment to breathe and not in a way that seems intentional? and some of the scenes with the judge/johanna/anthony subplot could have used some love. but. minor qualms. i am biased because kiss me through pretty women is probably my favorite section of the show 😵‍💫

my last takes are: johanna and the beadle in this production are unbelievably good. johanna leaned so into the bird motifs, as well as the idea that she is done waiting around and ready to do violence, much like her father. and the beadle is delightfully amoral and hates his job and delights in the power it affords him. i am so glad they didn't cut parlor songs and let him really eat it up

and. the last shot of sweeney and mrs. lovett is so so so good and i hope they do a professional filmed production of this so people can experience that alone. josh groban's in this it'll sell like hot cakes PLEASE just do it

my first experience with sweeney todd was a local production i saw this june, in a deeply intimate 300-seat theater. i was sitting so close i could've set my drink on the stage. the sweeney was elegant and suave and tortured; mrs lovett was so casually and affably mean. i will think about them forever! and it's very interesting to compare it to the big fuck-off money production considering they both got roasted for having a more emotional sweeney!! here's the theater's 40 second promo for it!!!

nothing will ever replace the original soundtrack in my heart. but i'm gonna be unwell about this revival for a bit

anyway that's all i got!! thanks for reading if you read this. attend the tale and all that (obligatory tag for @r-osehips thank you for the interest ❤️)

[clovemerablog]

Victoria Monet song review: “Alright”

Victoria Monet’s groovy r&b song is a source of confidence, independence and the power to curb lovers because you can.

Review by Clove Mera, 6 August 2024

Song released 14 June 2024

Track written by: Victoria Monet, Louis Kevin Celestin

Lovett Music, Inc., under exclusive license to RCA Records

Victoria Monet’s “Alright” delivers coherent harmony between vocals, lyrics, music and production, the result a suave laidback song about doing what you want, with the added perk of knowing it comes at the cost of someone else’s aspirations.

What I like about “Alright” is its experimental musicality, what I love is that it’s minimalistic in its elements. A rhythmic double snare glyph, which snaps persistently throughout the song, possesses a strangely erotic quality to it. I can’t easily put to words why I interpret this two key flair this way, and I can’t picture what’s so sexy about it, but it’s one part of this song’s trippy appeal for me.

The main melodic lead, a soft pad with a sharp edge, has a slow side chain on it. From the very beginning, it creates a downtempo pulse that invites you to begin dancing. This is part of the song’s allure, effortlessly incorporating an element from techno’s uptempo realm into a downtempo R&B song, and subverting genre norms in the process.

Monet begins the song cooly apathetic towards a lover who mistook her need for them, singing, “He gave me some dick in bed/ Now, he think his dick is embedded”. Throughout the track, Monet maintains an unbothered tone as she sings about how she’ll curb men and be totally alright on her own. There’s an aspirational quality to this tale, one you will either relate to or sing along with while imagining the fortune of having lovers to jilt. The line, “Yeah, he might call me a ho but I like to call it immortal” brings a degree of self-indulgence to the song, taking pride in your choices and indulging in the things you’ve been waiting to do for yourself.

The song’s hook is a self-affirmation for those listeners, one you reinforce through carefree dance, “Plus, I got this feeling life’s/ Alright, alright/ Alright/ Alright, alright”. The track’s pulse is built upon in this section, with a soft wiry lead winding around in the distance of the soundscape. It’s a subtle addition to the soundscape, which together with the hook, transports you into a hazy dance party where everyone’s gleefully dopey on morphine. The song never overcomplicates itself, rather indulges in its own pleasure.

Each choice made for “Alright” across lyrics, vocals, music and production make it a unique song unlike any I have heard before. A downtempo R&B song in which power lies in relaxation, sensuality in rejection and pleasure in one’s self.

“Alright” is available to stream and the music video is linked below.

[musicalpilftournament]

Character Propaganda Pages Pt 1

Links to all the propaganda pages for each character in the tournament. I plan to add links to each page as new propaganda is released. Some characters don't have pictures, so please send them if you have any. For characters with lots of propaganda I have compiled sections into a "summary" and that's what will be attached to the polls. I also apologise in advance if I mislabel any actors or characters, I have difficulty recognising faces sometimes.

Marvin Trina Whizzer Brown Mendel Charlotte and Cordelia Jean Valjean The Bishop of Digne (X) Linda Monroe Bill Woodward Mother (TTO) (X) Father (TTO) (X) Tom Houston (X) MacNamara Karen Chasity (X) Solomon Lauter (X) Webby (X) Sweeney Todd (X) Mrs. Lovett The Baker (X) Baker's Wife The Witch Armand (X) Diana Goodman (X) Doctor Frank-N-Furter Marya Dmitrievna Pierre (X) Persephone Willy Wonka (X) Munkustrap (X) Elphaba (X) Claire Zachanassian (X) Heidi (X) Madame Giry (X) Gilles André (X) Erik (Phantom) Christine Daaé (X) June George (X) Delia (X) Barbara Maitland (X) Adam Maitland (X) Fanny Gabor (X) Gregor Vassy Anatoly Sergievsky (X) Walter de Courcey (X) George McFly (X) Phyllis Stone (X) Margaret White (X) Mama Rose Desiree Armfeldt (X)

[kwebtv]

The History of Tom Jones: A Foundling - BBC One - November 9, 1997 - December 7, 1997

Historical (5 episodes)

Running Time: 60 minutes

Stars:

John Sessions as Henry Fielding

Benjamin Whitrow as Squire Allworthy

Brian Blessed as Squire Western

Max Beesley as Tom Jones

Samantha Morton as Sophia Western

Frances de la Tour as Aunt Western

Ron Cook as Mr Partridge

Richard Ridings as Reverend Thwackum

Christopher Fulford as Mr. Square

Michael Cronin as Dr. Blifil

Sylvester McCoy as Mr Dowling

James D'Arcy as Blifil

Peter Capaldi as Lord Fellamar

Michelle Fairley as Mrs Fitzpatrick

Lindsay Duncan as Lady Bellaston

Kathy Burke as Honour

Brian Pettifer as Parson Supple

Camille Coduri as Jenny Jones

Celia Imrie as Mrs. Miller

Kelly Reilly as Nancy Miller

Matt Bardock as Jack Nightingale

Sara Kestelman as Mrs. Wilkins

Tessa Peake-Jones as Bridget Allworthy

Doreene Blackstock as Abigail

Richard O'Callaghan as Mr. Fitzpatrick

Roger Lloyd Pack as Anderson

Brian Hibbard as George Seagrim

Con O'Neill as Captain Blifil

Rachel Scorgie as Molly Seagrim

Jane Danson as Betty Seagrim

Alexei Sayle as Puppeteer

Neil Dudgeon as Puppeteer's Assistant

Paul Barber as Adderley

Julian Firth as Northerton

Rupert Holliday-Evans as Lord Connaught

Amy Marston as Susan

Norman Lovett as Mr. Follett

June Whitfield as Mrs. Whitfield

Tim Healy as Mr. Nightingale Sr.

[70s80sandbeyond]

Julia Roberts and Lyle Lovett were married on June 27, 1993 and divorced two years later in 1995

[textingaboutprometheus]

Jon and Emily absolutely did start dating when they met in August 2011. If you go back far enough in Emily’s IG, you’ll see them celebrating Jon’s birthday in June 2012, and a pic of them in August 2012, that she has captioned ‘Year 2’. I believe Emily later said they lied about it because they met in a bar when she was underage (in terms of drinking.)

Also can’t believe people don’t seem to know about the infamous spat L & Tommy had on the pod about the Favreaus honeymoon gift. Tommy and some other friends sent them wine on their honeymoon, and L was genuinely furious that he wasn’t included. L made a lot of ‘jokes’ at the time about not being included in their outings - there was even an incident where Favs lied to him about a dinner he and Tommy had with another friend, but then Tommy let it slip. Always had the impression that the tension began after Tommy moved to LA and interrupted the L/J dynamic, tbh. Also they also made jokes about how Tommy found Lovett really exasperating to work with at the start, and that was the cause of his tension with L. Dan once made a joke about how Tommy must be loving L being on tour. They even talked about how fans on Twitter thought they hated each other. I think they’ve grown closer over the years though, as L has gotten his shit together and Tommy has mellowed.

And it all culminated in that time Tommy hugged L and then L had a crisis about it because they've never hugged which led to the second hug at Christmas time and Tommy saying he loved him at the What a Year live stream. Everything makes sense now.

Also, having a friend lie to you about hanging out is awful. Been there. I can imagine how hard L would be to work with. I can't fault Tommy for that. They seem good now. After Tommy’s tragedy with his first child, those guys closed ranks and even took a vacation together.

Let's move on from the feud topic and onto what sort reception L will receive when he's back on PSA. And Elijah will be back soon. Rejoice. Even if this is our last year in a democracy let's focus on having a good time.